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Wed 25th Feb 2026: 25022026

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A collection of Prints and photographs of Shipping RMS Strathaird Sydney harbour 1932 and other related pictures.

A collection of Prints and photographs of Shipping RMS Strathaird Sydney harbour 1932 and other related pictures.

Lot number: 1732

Est: £30 - £50

Two framed and glazed prints of George V and Edward VII, approx 48cm x 63cm.

Two framed and glazed prints of George V and Edward VII, approx 48cm x 63cm.

Lot number: 1733

Est: £30 - £50

An interesting Early 19th century oil painting in a giltwood frame study across water lake or Loch possible painted En Plein Air. Unsigned unattributed the canvas cut and set in the frame 72x62cm

An interesting Early 19th century oil painting in a giltwood frame study across water lake or Loch possible painted En Plein Air. Unsigned unattributed the canvas cut and set in the frame 72x62cm

Lot number: 1734

Est: £50 - £100

A framed watercolour of figures at a Hindu temple, signed by Emily Florence mason . Frame dimensions 42x58cm

A framed watercolour of figures at a Hindu temple, signed by Emily Florence mason . Frame dimensions 42x58cm

Lot number: 1735

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: 1736

Est: £2,000 - £3,000

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: 1737

Est: £100 - £150

A collection of framed vintage adverts American including MAD

A collection of framed vintage adverts American including MAD

Lot number: 1738

A framed set of photographs relating to the Trieste Submarine, and The Rolex Deep Sea Special, partial autographs from Don Walsh.

A framed set of photographs relating to the Trieste Submarine, and The Rolex Deep Sea Special, partial autographs from Don Walsh.

Lot number: 1739

A small framed study of a dog. Sketch dimensions 12x8cm

A small framed study of a dog. Sketch dimensions 12x8cm

Lot number: 1740

Est: £30 - £50

a late victorian maple framed porcelain plaque by Sherwin Cotton , Stafford 1898. Frame dimensions 24x30cm

a late victorian maple framed porcelain plaque by Sherwin Cotton , Stafford 1898. Frame dimensions 24x30cm

Lot number: 1741

A mid 20th Century modern British oil painting on board a view of Old Leigh Cockle boats moored on low tide by Marion Coker 84x58cm

A mid 20th Century modern British oil painting on board a view of Old Leigh Cockle boats moored on low tide by Marion Coker 84x58cm

Lot number: 1742

Est: £50 - £100

A framed oil painting on canvas study of a group of Thames Barges. 85x60cm

A framed oil painting on canvas study of a group of Thames Barges. 85x60cm

Lot number: 1743

Est: £250 - £350

A gilt framed oil painting on canvas study of Highland Cattle at the edge of a Lock with mountains beyond. Signed lower right W Stafford. 88cm x 61cm

A gilt framed oil painting on canvas study of Highland Cattle at the edge of a Lock with mountains beyond. Signed lower right W Stafford. 88cm x 61cm

Lot number: 1762

A 1840 penny black

A 1840 penny black

Lot number: 1801

Est: £80 - £120

A Theresienstadt Parcel admission stamp Dealer SCHULTZ marked on rear

A Theresienstadt Parcel admission stamp Dealer SCHULTZ marked on rear

Lot number: 1802

Est: £120 - £150

A Collection of 19th and early 20th century books including The Lancashire Witches By Harrison Ainsworth, The lady of the lake J. Lobban 1908, The Pilgrims Progress by John Bunyan 1904, Northanger Abbey Jane Austen, Villette By Charlotte Bronte, the poetical works of John Milton 1862 . NO RESERVE

A Collection of 19th and early 20th century books including The Lancashire Witches By Harrison Ainsworth, The lady of the lake J. Lobban 1908, The Pilgrims Progress by John Bunyan 1904, Northanger Abbey Jane Austen, Villette By Charlotte Bronte, the poetical works of John Milton 1862 . NO RESERVE

Lot number: 1803

Est: £0 - £0