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A collection of 4 Persian tasselled table centre rug runners largest red one measure 86 x33 cm and the smaller square one measures  32cm x 32 cm Condition Good/Used View all pictures

A very fine Persian handmade Tabriz rug highlighted in silk. 200 x 153 cm.

A Persian qashgai runner, with a row of central hooked medallions, on a red ground, 285 x 108cm

A Persian Kashan carpet, with all over foliate designs, on a red field, 307 x 200cm

A Persian kilim, with hooked coloured diamonds, 158 x 103cm

A Persian Malayar runner, with rows of medallions, on a red ground, 375 x 95cm

A Persian kilim rug, decorated with animals on coloured chevrons, 200 x 155cm

A Persian Lori carpet, with rows of hooked medallions, 278 x 146cm

Persian Bakhtiari carpet, with an ivory coloured medallion, on a red ground, 314 x 214cm

A large Persian Tabriz carpet, with foliate designs, on a cream ground, within multiple borders, 372 x 278cm

A Persian runner, with a row of three hooked diamonds, on a red ground, 278 x 80cm

A Persian Afshar rug, with all over foliate designs, on a cream field, 250 x 166cm

A large Persian Isfahan carpet, with foliate designs, on a red field, 380 x 285cm

A Persian kilim, with rows of lozenges, 124 x 79cm, together with another smaller, 100 x 67cm (2)

A Persian Isfahan carpet, with foliate designs, on a red ground, 206 x 152cm

A Persian Mashad carpet, with a large central medallion, on a red ground, 357 x 234cm

A Persian Kashan carpet, with floral and foliate designs on a cream ground, 350 x 248cm

A Persian kilim, with all over diamonds, 160 x 97cm

A Persian kilim runner, with all over coloured diamonds, 203 x 69cm

A Persian woollen rug, with all over designs on a red ground, 196 x 138cm

A Persian prayer rug, on a red ground, within multiple borders, 156 x 101cm

A Persian kilim rug, having a cream ground, within embellished borders, 195 x 110cm

A Persian kilim, with all over coloured diamonds, 181 x 120cm

A Persian kilim runner, 143 x 60cm

A Persian Kashan rug, with a large central blue medallion, 225 x 138cm

A large Persian carpet, early to mid 20th century, with all over floral designs, on a red ground, within multiple borders, 375 x 260cmOverall wear. Worn fringes. Probable fading of colour. Recently inherited.

A Persian Sarouk rug, decorated with birds amongst scrolling foliate designs, 220 x 130cm

A Persian Tabriz carpet, with rows of coloured medallions, 290 x 205cm

A Persian kilim runner, with two rows of medallions, 242 x 80cm

A Persian rug, with designs on a red ground, 122 x 71cm

A Persian Bidjar rug, with rows of flowerheads , on a red ground, 185 x 120cm

A Persian kilim runner, with all over diamonds, 197 x 65cm

A Persian Qashgai carpet, the large central medallion, with hooked motifs, 290 x 180cm

A Persian Bidjar kilim, with rows of geometric designs, 265 x 135cm

A Persian Nain carpet, with a central medallion and scrolling motifs, on a cream ground, 300 x 200cm

A Persian Kashan carpet, with foliate designs, on a red ground, 405 x 290cm

A Persian Qashgai kilim, with three central designs, on a plain red field, 280 x 170cm

A north west Persian rug with overall foliate design, 330 x 240 cm. 

A Persian woollen red ground prayer rug, having kelim ends, 140 x 93cm

A Persian style machine woven red ground Bokhara hall runner, 272 x 68cm

A Persian woollen Tabriz rug, 182 x 126cm, together with a further red ground machine woven Persian style hall rug, made in Belgium, 138 x 66cm (2)

A Louis de Poortere Mossoul red ground machine woven Persian style rug, 240 x 170cm

Persian hand knotted,all wool, Quashgai tribal rug. 247cm x 174cm

A Persian Faience Cat, probably 16th/17th century, modelled seated with blue and black foliate scroll and faux fur decoration 17cm highProvenance: With Wain Antiques, Tetbury, 2 March 1984 The Dr Eileen Cobb Collection Damage and repair to the cats muzzle. Loss to the tip of one ear with some repair. Heavily crazed. Some firing tears.

A Persian Fritware Bowl, 17th/18th century, painted in underglaze blue with a landscape panel, the exterior with wrythen panels of stylised scrolling foliage 29cm diameterProvenance: The Property of Sir Brooke Boothby, ex Fonmon Castle No restoration. The bowl has been examined under UV lightong. With a thick vitrious glaze widely crazed with some minor resultant staining.  One tight rim crack.  Some firing imperfections to the glaze.

Millie Shafiee Shadows in the Sky, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Millie Shafiee The Dark Wives, 2025 Ink on paper Signed on VersoInk on paper 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

Millie Shafiee Castles in the Air, 2025 Ink on paper Signed on Verso 10 x 15cm (3¾ x 5¾ in.) About Millie Shafiee is a multi-disciplinary artist, who works in drawing, film, sound and installation. Light and space are key elements in Shafiee's practice and her imagery is often created using drawings from film. Her references to cinematic light highlight her experience of creating imagined stories from her family history. Being half Persian, her practice explores diaspora, inherited memory, and the fragility of oral histories, which become diluted or lost in translation.   Education 2023-2024 The Collective Studio, The Newbridge Project, Newcastle Upon Tyne 2019-2023 BA Fine Art, Newcastle University, Newcastle Upon Tyne with study abroad program at University of Victoria, Canada 2018-2019 Level 3 Diploma in Fine Art, The Royal Drawing School, London   Group Exhibitions 2025 New Contemporaries, Institute of Contemporary Arts, London, UK 2024 New Contemporaries, KARST, The Levinsky Gallery and MIRROR, Plymouth, UK Create Disrupt, Embassy Gallery, Edinburgh, UK The Forum Cinema, Hexham, UK Open Studios, The Newbridge Project, Newcastle Upon Tyne, UK 2023 Newcastle University at Parallax Art Fair, London, UK BA Fine Art Degree Show, Space, Liverpool, UK BA Fine Art Degree Show, Newcastle University, Newcastle Upon Tyne, UK Volunteers' exhibition, Star and Shadow, Newcastle Upon Tyne, UK 2022 Interim Show, Newcastle University, Newcastle Upon Tyne, UK Drawing and Mark-making, The Audain Gallery, Victoria, Canada Photography and Paint, The Grey Room, University of Victoria, Victoria, Canada 2021 Open Studios, Newcastle University, Newcastle Upon Tyne, UK Awards 2023 Forshaw Women Artists' Interview Award, The Forshaw Group Bartlett Travel Award, The Bartlett Fund   Statement about AOAP Submitted Artwork These ink drawings combine glimpses of family memories with the cinematic compositions and vast Northumberland landscape in BBC's Vera. They were created using rapid thumbnail sketches drawn live in response to the production, the fast pace of changing shots means some of the compositions are from memory and partially improvised. The combination of imagined and memorised imagery highlights my experience of creating ancestral memories from fragmented images.   You must not reproduce, duplicate, copy, sell, resell or exploit any works. In doing so, you endanger our relationships with artists and directly jeopardise the charitable work we do.

India.- Tiefentaller (Joseph) Carte Generale du Cours du Gange et du Gagra..., six maps on one sheet, with the main central map showing the course of the Ganges and Ghahara Rivers, other inset maps relating to the rivers, with Persian and French text, engraved map on laid paper without watermark, sheet 610 x 760 mm (24 x 29 3/4 in), old folds with some splitting repaired verso, minor repairs to small nicks and losses, handling creases, unframed, Paris, 1784

Levant.- Morier (James) A Journey through Persia, Armenia, and Asia Minor, to Constantinople, first edition, engraved folding map frontispiece and 2 folding maps, one with short tear at gutter, 25 engraved or aquatint plates, 1812; A Second Journey through Persia, Armenia, and Asia Minor to Constantinople, first edition, half-title, aquatint frontispiece and 14 engraved or aquatint plates only (of 15), of which 4 double-page or folding, 2 engraved maps, of which one double-page, illustrations, cracked hinges, 1818, faint pencil inscription to title, off-setting, scattered spotting, uniform contemporary calf, a little rubbed, bumping to corners and extremities, [Atabey 836 & 837], 4to (2).  *** Morier was born and raised in Smyrna. He was secretary to the mission of Sir Harford Jones to Persia in 1808-09, and again to that of Sir Gore Ouseley which resulted in the Anglo-Persian treaty of 1812, both as recorded here. Morier also wrote novels set in the East, most notably The Adventures of Haji Baba of Ispahan.

Asia.- Wolff (Rev. Joseph) Narrative of a Mission to Bokhara, in the Years 1843-1845, presentation copy from the author inscribed in Persian and signed in English, fourth edition, half-title, portrait frontispiece, cracked upper hinge, original cloth, short tear to spine head, sunned spine, rubbed and worn, bumping to corners, 1846 § Andrew (W. P.) Our Scientific Frontier, presentation copy inscribed by author on title, folding map frontispiece and large folding map (laid onto tissue), advertisements at end, original cloth, rebacked retaining original backstrip, a little rubbed, 1880; and others Asia, 8vo (6)

Middle East.- Persian Gulf (The) Administration Reports 1873-1947, 10 vol., folding maps, original cloth, a little rubbed, slight bumping to corners and extremities, 8vo, 1986.

Pair of Persian Qajar ceremonial sugar cane axes, in brass alloy and mounted with coral and turquoise-coloured cabochons, the axe head engraved heads of birds and a stag, the geometric handle with further bird surmount, 27.5cm long x 15.5cm high

Persian Marquetry Khatam Kari Desk tidy with drawer, 13.5" long and 9" deep.

* Morrell (Ottoline, 1873-1938). A large needlework panel embroidered by Lady Ottoline Morrell, circa 1915/16, densely worked all over in bright polychrome silk threads using mainly long and short stitch and french knots, with a profusion of large flowers and leaves, including sunflowers, carnations, tulips, daffodils, and roses, a few loose threads, on a beige cotton ground with machine-stitched centre join, ground perishing in places and expertly consolidated with stitching by The Royal School of Needlework in 2009 (mainly to lower left-hand edge - latter also sustaining a few minor losses to embroidery), brass rings on linen tabs for hanging to top corners, approximately 195 x 173 cm (77 x 68 ins)QTY: (1)NOTE:Provenance: Lady Ottoline Morrell (1873-1938); her daughter Julian Vinogradoff (née Morrell, 1906-1989); thence by descent.An extraordinarily vibrant coverlet, worked by Lady Ottoline Morrell whilst living at Garsington Manor, Oxfordshire, during the First World War, and later hung on the walls of Julian's home, Broughton Grange, near Banbury, Oxfordshire. Philip and Ottoline Morrell moved into the beautiful old manor house of Garsington in 1915, and held court there for over a decade to a coterie of avant-garde painters, writers and philosophers who became known as the Bloomsbury Group. Amongst the numerous visitors - many of them long-staying house guests - were D.H. Lawrence, Virginia Woolf, Duncan Grant, Mark Gertler, Vanesa Bell, T.S. Eliot, Aldous Huxley, Dora Carrington, and E.M. Forster. Reacting against the conventional mores of the Victorians, the Garsington set embraced pacifism, feminism and sexual freedom, Ottoline writing in her diary in 1915 'conventionality is deadness'.In many ways, this needlework is an embodiment of those impulses. It decries the usual rules of form and colour found in Victorian and Edwardian embroidery: the pattern appears to take shape on the fabric anamorphously; a wide, almost clashing, colour palette is used; and startlingly unexpected hues appear, so that, for example, daffodils are depicted in shades of blue and purple, and carnations are multi-coloured.Like the coverlet Ottoline was flamboyant, unexpected, and colourful in all aspects of her life. She favoured brightly coloured clothes in highly original designs which differed both from the fashions of the day and the more bohemian styles worn by some. The interior of the home she made at Garsington was described as a 'fluttering parrot-house of greens, reds and yellows', which was filled with Persian carpets, Chinese boxes and cabinets, beautiful porcelain, silk hangings, lacquered screens, and ornate mirrors: 'the walls were painted a rich Venetian red and iridescent sea green: colours chosen from the palette at Bolsover Castle - an estate within the family that Ottoline had visited as a child' (Miranda Seymour, Ottoline Morrell: Life on a Grand Scale, 1992, p.35). Perhaps the aspect of Ottoline's life most mirrored in the embroidery - for obvious reasons - is the garden she created at Garsington. Although a formal Italiante garden, it was dense with colour, as she herself described: 'I felt so happy watching the flowers - the brown ringed sunflowers, the red hot pokers, the phlox and montbretia, the zinnias and marigolds all crowded together in luxurious company.'While stylistically this panel is all one might expect from the needle of a woman such as Lady Ottoline, the manner of its creation is also symbolic of the life she led. Juliette Huxley, wife of Julian, described how she and her sister-in-law Maria, wife of Aldous Huxley, contributed to the sewing of the coverlet, whilst being read to by Bertrand Russell, with whom Ottoline was having an affair: 'Ottoline sat in the armchair under the wide-shaded lamp, smoking cigarettes and sucking peppermints at the same time, with some handwork she was engaged on. It could have been crocheting one of the many-coloured counterpanes, or embroidering the coverlet she describes in her book; Bertie in the corner, reading aloud the Causerie du Lundi, by Sainte-Beuve, in his faultless accent, vividly, absorbingly; Maria and I .. contributing to that coverlet of exploding flowers, for which Ottoline had an array of exquisite silks to choose from, all designed from an Italian fragment ...'.Ottoline's own words about the making of the bedcover corroborate this scene of intellectual and spiritual conviviality: "I sat in my special chair under the lamp with a piece of embroidery and all my coloured silks spread out around me. Maria, when at home, sitting at my feet and she would be allowed to embroider a flower in one corner of the vast bedspread on which I was at work, Juliette at another corner. How much is woven in that coverlet! How intense the feelings as we worked at it. What interesting and vital ideas were blended with the silks and woven into the pattern of gay flowers. Some flowers must be bright with poetry, some dark and smudged with war; others vivid and bizarre with thoughts of life; and a lovely rose will always speak of the fragile beauty of love and friendship, and a sunflower was like one that grew in the garden with thoughts of Blake's 'weary of time'. Maria's flowers are red and sensual. Juliette's gay and multi-coloured, but perhaps rather too pretty." (Juliette Huxley Leaves of the Tulip Tree, John Murray, 1986, p.46)In 1916 Lady Ottoline wrote of Garsington Manor: ‘The house has all the magic thrill to me, even tho’ I have lived within its walls and it has become absolutely familiar to me, pressed so near that we almost seem one. I have interpenetrated the house - vivified it - filled it with flaring orange - and reds and greens - filled it with myself - my thoughts - actions.' (Lady Ottoline Papers, Univeristy of Maryland, USA)

Soufian(Persian/Iranian, late 20th Century)"Guarantor of the Gazelle", depicting Imam Reza,signed and dated 1999,mixed media on board,64 x 44cms, in painted frame 91 x 70cms.

A 20th century camel ground Persian pattern carpet, 410 x 293cm

Three WWII and later daggers and a 1950s photograph album. Comprising two WWII daggers possibly with Italian police eagle emblem to the handle, one blade marked PC1812, the other PC2350, both with leather scabbard, a further small Persian dagger, and an interesting 1950s photograph album of Egypt, Jerusalem, etc.

A small modern Persian silver rug, 92cm (plus tassels) by 62cm, signed to corner, in very good condition

A vintage Hingeco On the Town heart shaped silver plated compact, 6.5cm x 7cm, deco black and gilt saddle bag shape 6cm x 6.5cm, oval Pozzoni's Boodle Box 10cm x 3.5cm, rectangular portrait mounted black with mirror verso, 8cm x 5.5cm, Mondaine Vintage Lady domed vanity 7cm x 4.5cm, Mary Dunhill black barrel lipstick with faux pearl top 6cm, barrel lipstick with black spherical orb with colourless stones (af) 6cm, mother of pearl and abalone mounted rectangular glass scent with dip stick, 6cm, two saddle bags with Persian and Eastern scenes 8.5cm x 9cm, painted dancing silhouette on green ground decorated carryall vanity of shaped rectangular design with chain carry handle, 8cm x 5cm, square deco powder with guilloche enamel, gilt flower and black borders, 5.5cm with matching barrel lipstick on chain 5.5cm (12)