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Wed 26th Aug 2026: 22072026

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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 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 Frith, approx 50cm x 42cm.

A gilt framed watercolour titled Going To Cover by Fred Frith, 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

Reproduction Pictures including Jeune Femme Jouant De La Harpe" by the German Orientalist painter Nathaniel Sichel (1843–1907) etc. frame dimensions 24x56cm to 61x83cm

Reproduction Pictures including Jeune Femme Jouant De La Harpe" by the German Orientalist painter Nathaniel Sichel (1843–1907) etc. frame dimensions 24x56cm to 61x83cm

Lot number: 1365

Est: £0 - £0

A framed and glazed Thomas Lound watercolour of Tintern Abbey, approx 62cm x 47.5cm.

A framed and glazed Thomas Lound watercolour of Tintern Abbey, approx 62cm x 47.5cm.

Lot number: 1366

Est: £100 - £150

A collection of world stamps including 20th Century stamps. No reserve

A collection of world stamps including 20th Century stamps. No reserve

Lot number: 1401

Est: £0 - £0

A shoe box of mixed presentation stamp packs, first day covers etc, together with two albums of coin covers

A shoe box of mixed presentation stamp packs, first day covers etc, together with two albums of coin covers

Lot number: 1402

Est: £50 - £80

A collection of vintage post cards including Louis Wain, Mabel Lucy Atwell and many advertising cards . N/R

A collection of vintage post cards including Louis Wain, Mabel Lucy Atwell and many advertising cards . N/R

Lot number: 1403

Est: £0 - £0

Over 75 complete Tuck post card sets including the Kings & Queen's of England sets and many with their original packets

Over 75 complete Tuck post card sets including the Kings & Queen's of England sets and many with their original packets

Lot number: 1404

Est: £50 - £80

A collection of vintage cigarette and collectors cards including complete from Costlier tobacco, chairman cigarettes and princes candles along with a collection of birthday cards. No reserve

A collection of vintage cigarette and collectors cards including complete from Costlier tobacco, chairman cigarettes and princes candles along with a collection of birthday cards. No reserve

Lot number: 1405

Est: £0 - £0

A stamp album of Indian stamps used and mint

A stamp album of Indian stamps used and mint

Lot number: 1406

Est: £100 - £150

Stamp album including 19th and 20th Century stamps from Bolivia, Brazil, Colombia etc

Stamp album including 19th and 20th Century stamps from Bolivia, Brazil, Colombia etc

Lot number: 1407

Est: £100 - £150

7 Victorian penny blacks

7 Victorian penny blacks

Lot number: 1408

Est: £250 - £350