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Tue 25th Aug 2026: 22072026

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Joel S Dickens, (1974-), Eggshells"Who's really running this war" , 106cm x 100 cm.

Joel S Dickens, (1974-), Eggshells"Who's really running this war" , 106cm x 100 cm.

Lot number: 1346

Est: £200 - £300

Joel S Dickens, (1974-), "the greatest painter of all time", 117 cm x 111 cm.

Joel S Dickens, (1974-), "the greatest painter of all time", 117 cm x 111 cm.

Lot number: 1347

Est: £200 - £400

Joel S Dickens(1974-), "AMidnight waiting'.

Joel S Dickens(1974-), "AMidnight waiting'.

Lot number: 1348

Est: £200 - £400

Joel S Dickens (1974-), unnamed large painting of a fairy, pig and carried man on red background,

Joel S Dickens (1974-), unnamed large painting of a fairy, pig and carried man on red background,

Lot number: 1349

Est: £200 - £300

Joel S Dickens (1974-), "He made a mistake when he made you his son". 117 cm x 122 cm.

Joel S Dickens (1974-), "He made a mistake when he made you his son". 117 cm x 122 cm.

Lot number: 1350

Est: £200 - £400

Four framed oval oil on copper oil paintings depicting rural landscapes signed Tesson, Roger's etc. 15x18cm & 30x35cm

Four framed oval oil on copper oil paintings depicting rural landscapes signed Tesson, Roger's etc. 15x18cm & 30x35cm

Lot number: 1352

Est: £30 - £50

Victorian watercolour of a stately home in period quality frame, 23 cm x 36cm.

Victorian watercolour of a stately home in period quality frame, 23 cm x 36cm.

Lot number: 1353

Est: £70 - £100

Beaded and needlework pictures (3). Dimensions 50x53cm and 28x58cm

Beaded and needlework pictures (3). Dimensions 50x53cm and 28x58cm

Lot number: 1354

Est: £40 - £60

Five framed Cecil Holman watercolours and engravings NO RESERVE

Five framed Cecil Holman watercolours and engravings NO RESERVE

Lot number: 1356

Est: £0 - £0

A good collection of sketches by Jean Alexander (1911-1994) includes local scened, portraits, still life etc (Believed to be her college works)

A good collection of sketches by Jean Alexander (1911-1994) includes local scened, portraits, still life etc (Believed to be her college works)

Lot number: 1357

Est: £70 - £100

Original oil on canvas, Signed and dated 'FVB 1974, This 1974 surrealist work is a densely layered psychological landscape that utilizes architectural and historical motifs to explore the tension between power and vulnerability. By combining overt phallic symbolism with subtle references to the tragic history of Anne Boleyn, the artist creates a space where personal and historical trauma intersect. Phallic Symbolism and the Tower of Power The central verticality of the composition is anchored by a massive stone tower, a quintessential phallic symbol in surrealist vocabulary. The Architecture of Control: The tower's rigid, unyielding form represents the masculine ego and patriarchal authority. Its isolation atop a tiered platform mirrors the "ivory tower" of the mind a place of both command and profound disconnection. The Windowless Fortress: With only a single, narrow slit for a window, the structure suggests a fortress designed for surveillance rather than connection, embodying the defensive posture of the ego against the "chaos" of the surrounding garden. Anne Boleyn: The "Hidden" Queen and the Tower of London The painting subtly encodes references to Anne Boleyn, the second wife of Henry VIII, whose life was defined by the very symbols present in this landscape: * The Tower of London: For the viewer familiar with Tudor history, the central tower serves as a dual symbol: it is both the site of Annes coronation and her eventual imprisonment and execution. The dark, looming wall at the rear of the garden further reinforces this sense of a cloistered, captive space. * The "Watching" Trees (Demonic Faces): The grotesque, demonic faces woven into the foliage of the trees evoke the atmosphere of courtly intrigue and the "many eyes" of the Tudor court. These faces symbolize the malicious gossip and accusations of witchcraft that ultimately led to Anne's downfall. * The Apple and the Fall: The red fruit historically linked to the fall of man references the "temptress" narrative often used to vilify Anne. In this surrealist context, they act as the "eyes" of the trees, suggesting that the figure "Frederic" is being judged by a history he cannot see. * Metamorphosis and the Butterfly: The prominent butterfly near the reclining figure symbolizes the fleeting nature of royal favour and the souls liberation through death a poignant nod to Annes final moments of "transcendence" before her execution. The Figure "Frederic" and the Fountain The reclining figure, identified by the verso inscription as "Frederic" [Text on image], lies in a state of passive vulnerability at the base of the tower. Placed beside a bubbling fountain a symbol of life and the fluid subconscious the figure represents the delicate balance between life and the crushing weight of historical and architectural authority. Technical Execution The artist utilizes a specialized granular "beaded" texture across the surface, giving the painting an organic, almost vibrating quality. This technique ensures that the hidden faces in the trees only reveal themselves as the viewers perspective shifts, a deliberate choice that mirrors the shifting "truths" of history and the deceptive nature of appearances at court. Dimensions with frame. 141.5cm x 116cm, canvas 127cm x 102.5cm. TO BE SOLD WITHOUT RESERVE

Original oil on canvas, Signed and dated 'FVB 1974, This 1974 surrealist work is a densely layered psychological landscape that utilizes architectural and historical motifs to explore the tension between power and vulnerability. By combining overt phallic symbolism with subtle references to the tragic history of Anne Boleyn, the artist creates a space where personal and historical trauma intersect. Phallic Symbolism and the Tower of Power The central verticality of the composition is anchored by a massive stone tower, a quintessential phallic symbol in surrealist vocabulary. The Architecture of Control: The tower's rigid, unyielding form represents the masculine ego and patriarchal authority. Its isolation atop a tiered platform mirrors the "ivory tower" of the mind a place of both command and profound disconnection. The Windowless Fortress: With only a single, narrow slit for a window, the structure suggests a fortress designed for surveillance rather than connection, embodying the defensive posture of the ego against the "chaos" of the surrounding garden. Anne Boleyn: The "Hidden" Queen and the Tower of London The painting subtly encodes references to Anne Boleyn, the second wife of Henry VIII, whose life was defined by the very symbols present in this landscape: * The Tower of London: For the viewer familiar with Tudor history, the central tower serves as a dual symbol: it is both the site of Annes coronation and her eventual imprisonment and execution. The dark, looming wall at the rear of the garden further reinforces this sense of a cloistered, captive space. * The "Watching" Trees (Demonic Faces): The grotesque, demonic faces woven into the foliage of the trees evoke the atmosphere of courtly intrigue and the "many eyes" of the Tudor court. These faces symbolize the malicious gossip and accusations of witchcraft that ultimately led to Anne's downfall. * The Apple and the Fall: The red fruit historically linked to the fall of man references the "temptress" narrative often used to vilify Anne. In this surrealist context, they act as the "eyes" of the trees, suggesting that the figure "Frederic" is being judged by a history he cannot see. * Metamorphosis and the Butterfly: The prominent butterfly near the reclining figure symbolizes the fleeting nature of royal favour and the souls liberation through death a poignant nod to Annes final moments of "transcendence" before her execution. The Figure "Frederic" and the Fountain The reclining figure, identified by the verso inscription as "Frederic" [Text on image], lies in a state of passive vulnerability at the base of the tower. Placed beside a bubbling fountain a symbol of life and the fluid subconscious the figure represents the delicate balance between life and the crushing weight of historical and architectural authority. Technical Execution The artist utilizes a specialized granular "beaded" texture across the surface, giving the painting an organic, almost vibrating quality. This technique ensures that the hidden faces in the trees only reveal themselves as the viewers perspective shifts, a deliberate choice that mirrors the shifting "truths" of history and the deceptive nature of appearances at court. Dimensions with frame. 141.5cm x 116cm, canvas 127cm x 102.5cm. TO BE SOLD WITHOUT RESERVE

Lot number: 1358

Est: £0 - £0

A small gilt framed oil on canvas of sailing boats by Colin Moore, approx 33cm x 25cm.

A small gilt framed oil on canvas of sailing boats by Colin Moore, approx 33cm x 25cm.

Lot number: 1360

Est: £40 - £60

A gilt framed watercolour titled Going To Cover by Fred Fitch, approx 50cm x 42cm.

A gilt framed watercolour titled Going To Cover by Fred Fitch, approx 50cm x 42cm.

Lot number: 1361

Est: £40 - £60

An unsigned Victorian watercolour village view, framing in need of restoration

An unsigned Victorian watercolour village view, framing in need of restoration

Lot number: 1362

Est: £50 - £80

Oil on board of two Spaniels.in ornate gilded frame. 47 x 58 cm.

Oil on board of two Spaniels.in ornate gilded frame. 47 x 58 cm.

Lot number: 1363

Est: £50 - £60

A collection of pictures

A collection of pictures

Lot number: 1364

Est: £0 - £0