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Wed 25th Mar 2026: 24042026

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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 Anne’s 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 soul’s liberation through death—a poignant nod to Anne’s 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 viewer’s 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.

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 Anne’s 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 soul’s liberation through death—a poignant nod to Anne’s 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 viewer’s 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.

Lot number: 1519

Est: £1,500 - £2,000

A contemporary composition American flag three dimensional picture to commemorate the founding fathers of America Signed by AJ Fawcett, dimensions 110x112cm

A contemporary composition American flag three dimensional picture to commemorate the founding fathers of America Signed by AJ Fawcett, dimensions 110x112cm

Lot number: 1520

Est: £40 - £60

A framed watercolour of heathland view in a gilt frame, signed Foster Robson. Measuring 50cm x 38cm- NO RESERVE

A framed watercolour of heathland view in a gilt frame, signed Foster Robson. Measuring 50cm x 38cm- NO RESERVE

Lot number: 1521

Henry Hadfield CUBLEY (1858-1934) large gilt framed Scottish highland fishing scene, 134cm x 100cm

Henry Hadfield CUBLEY (1858-1934) large gilt framed Scottish highland fishing scene, 134cm x 100cm

Lot number: 1522

Est: £50 - £80

A Collection of framed maps including Niger, Zanzibar , The Nile. By London Edward Stanford 55 Charing Cross. 32 to 71cm wide (10)- NO RESERVE

A Collection of framed maps including Niger, Zanzibar , The Nile. By London Edward Stanford 55 Charing Cross. 32 to 71cm wide (10)- NO RESERVE

Lot number: 1523

Stanley Charles Rowles, etched depiction of Tower Bridge in London, viewed from the far side of the river Thames. Steam boats and workman. 46cm x 40cm, pencil signed lower right.

Stanley Charles Rowles, etched depiction of Tower Bridge in London, viewed from the far side of the river Thames. Steam boats and workman. 46cm x 40cm, pencil signed lower right.

Lot number: 1524

Est: £30 - £50

A framed queen Elizabeth and Phillip picture circa 1947, frame 10" x8.5".

A framed queen Elizabeth and Phillip picture circa 1947, frame 10" x8.5".

Lot number: 1525

A Large framed oil painting on canvas still life study of flowers in a vase 20th century indistinctly signed possible Carrol King. For interpretation.113x82cm

A Large framed oil painting on canvas still life study of flowers in a vase 20th century indistinctly signed possible Carrol King. For interpretation.113x82cm

Lot number: 1526

Est: £40 - £60

A large framed 20th century oil painting on canvas depicting two ladies with baskets of flowers signed Gordon King. 117x67cm

A large framed 20th century oil painting on canvas depicting two ladies with baskets of flowers signed Gordon King. 117x67cm

Lot number: 1527

Est: £50 - £100

A small framed mid 19th century oil painting rural view with cottages unsigned and unattributed. 30x30cm

A small framed mid 19th century oil painting rural view with cottages unsigned and unattributed. 30x30cm

Lot number: 1528

Est: £30 - £50

A well presented 19th century print a View Of Montrose. 83x66cm

A well presented 19th century print a View Of Montrose. 83x66cm

Lot number: 1530

Est: £30 - £50

A framed oil painting Welsh scene across a river entitled The Lledr. North Wales signed and dated D H Winder 1924. Hight 83cmx 50cm

A framed oil painting Welsh scene across a river entitled The Lledr. North Wales signed and dated D H Winder 1924. Hight 83cmx 50cm

Lot number: 1531

Est: £40 - £60

A 20th century oil painting study of a French street scene with figures well presented in a white wash frame. Signed lower left possible Duran Bulevar-Flo 65x58cm

A 20th century oil painting study of a French street scene with figures well presented in a white wash frame. Signed lower left possible Duran Bulevar-Flo 65x58cm

Lot number: 1532

Est: £50 - £100

An Original London Underground Poster; The Underground brings all good things nearer, The Return of Persephone, by Dora M Batty, 1933, for the Underground Electric railway company b y Sander Philips & Co. Ltd The Baynard Press. No. 147 1000/2/33. Some condition issues, 4 fold creases, small split to base of poster, some light staining. 102cm x 63cm.

An Original London Underground Poster; The Underground brings all good things nearer, The Return of Persephone, by Dora M Batty, 1933, for the Underground Electric railway company b y Sander Philips & Co. Ltd The Baynard Press. No. 147 1000/2/33. Some condition issues, 4 fold creases, small split to base of poster, some light staining. 102cm x 63cm.

Lot number: 1534

Est: £1,000 - £1,500

An Original London Underground poster, The giant stride, For a Fine start and a fine holiday, by Frederick Charles Herrick, 1922, Banyard press logo bottom right. 102cm x 65cm, 4 fold creases, some staining, edges tatty.

Lot number: 1535

Est: £1,000 - £1,500

Original London Underground poster, In the spring, a young man's fancy, by Thomas Derrick, 1927. Vincent Brooks, Day & Son Ltd, Underground Electric Railways Company Ltd, 1927

Original London Underground poster, In the spring, a young man's fancy, by Thomas Derrick, 1927. Vincent Brooks, Day & Son Ltd, Underground Electric Railways Company Ltd, 1927

Lot number: 1536

Est: £100 - £150