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Wed 27th May 2026: 27052026

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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: 1607

Est: £1,000 - £1,500

Two framed watercolours, English rural scenes. Dimensions 47x36cm 44x30cm- NO RESERVE

Two framed watercolours, English rural scenes. Dimensions 47x36cm 44x30cm- NO RESERVE

Lot number: 1608

A framed watercolour , children with birds nest signed and dated 1864 NO RESERVE

A framed watercolour , children with birds nest signed and dated 1864 NO RESERVE

Lot number: 1609

Est: £0 - £0

Jorge Aguilar - Agon, 1936-2020, 20th Century oil on canvas titled “Up Up and Away the Vanishing lady”. 52cm x 42cm.

Jorge Aguilar - Agon, 1936-2020, 20th Century oil on canvas titled “Up Up and Away the Vanishing lady”. 52cm x 42cm.

Lot number: 1610

Est: £200 - £300

A limited edition signed print 68/300, Kim Brooks, 1975, Leopard portrait.86cm x 64cm- NO RESERVE

A limited edition signed print 68/300, Kim Brooks, 1975, Leopard portrait.86cm x 64cm- NO RESERVE

Lot number: 1611

A large c.1800 unframed oil on canvas, landscape view with ruins. 105cm x 53cm

A large c.1800 unframed oil on canvas, landscape view with ruins. 105cm x 53cm

Lot number: 1612

Est: £50 - £100

A Ken Stroud oil on board painting, wildlife artwork depicting grey seals on a rocky coastline. Frame dimensions 100x47cm NO RESERVE

A Ken Stroud oil on board painting, wildlife artwork depicting grey seals on a rocky coastline. Frame dimensions 100x47cm NO RESERVE

Lot number: 1613

Est: £0 - £0

A John Hunt watercolour of Chew Valley Lake in winter, approx 47cm x 38cm including frame. NO RESERVE

A John Hunt watercolour of Chew Valley Lake in winter, approx 47cm x 38cm including frame. NO RESERVE

Lot number: 1614

Est: £0 - £0

A framed watercolour, view of Market Square in Italy by Denys G Wells (1881-1973). Frame dimensions 76x58cm NO RESERVE

A framed watercolour, view of Market Square in Italy by Denys G Wells (1881-1973). Frame dimensions 76x58cm NO RESERVE

Lot number: 1615

Est: £0 - £0

A framed watercolour, view of Church Street in Kensington by Denys G Wells (1881-1973). Frame dimensions 76x58cm- NO RESERVE

A framed watercolour, view of Church Street in Kensington by Denys G Wells (1881-1973). Frame dimensions 76x58cm- NO RESERVE

Lot number: 1616

A Charles Barrett Oil painting “Owl on branches” frame dimensions 48x43cm NO RESERVE

A Charles Barrett Oil painting “Owl on branches” frame dimensions 48x43cm NO RESERVE

Lot number: 1617

Est: £0 - £0

A Charles Barrett oil (acrylic) on canvas painting “Red Fox”. Dimensions 68x58cm

A Charles Barrett oil (acrylic) on canvas painting “Red Fox”. Dimensions 68x58cm

Lot number: 1618

Est: £40 - £60

a collective lot of 5 framed David Shepherd prints NO RESERVE

a collective lot of 5 framed David Shepherd prints NO RESERVE

Lot number: 1619

Est: £0 - £0

Two Victorian framed prints after John A Lomax, The Reconciliation and The Story of the Elopement and three 20th century framed prints of coastal towns and at sea. Also including a hunting scene framed watercolour (6) NO RESERVE

Two Victorian framed prints after John A Lomax, The Reconciliation and The Story of the Elopement and three 20th century framed prints of coastal towns and at sea. Also including a hunting scene framed watercolour (6) NO RESERVE

Lot number: 1620

Est: £0 - £0

Don DEL MARTINO, 1860-1895, Rome, view into St. Peter's Basilica, dated 1895.

Don DEL MARTINO, 1860-1895, Rome, view into St. Peter's Basilica, dated 1895.

Lot number: 1621

Est: £500 - £600

An interior view of a Gothic cathedral featuring elaborate tracery, monumental statues, and congregants gathered for service, after Samual Prout British, 1783–1852 (poss subject Regensburg). Gilt framed and glazed 69cm x 59cm

An interior view of a Gothic cathedral featuring elaborate tracery, monumental statues, and congregants gathered for service, after Samual Prout British, 1783–1852 (poss subject Regensburg). Gilt framed and glazed 69cm x 59cm

Lot number: 1622

Est: £0 - £0