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Thu 2nd Jul 2026: 24062026

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A Salvador Dali framed and signed print, Canto 8: The Highest Beauty of Beatrice. Frame size 62x70cm

A Salvador Dali framed and signed print, Canto 8: The Highest Beauty of Beatrice. Frame size 62x70cm

Lot number: 1506

Est: £150 - £200

Three formula one and Le Mans signed racing prints. Frame dimensions 88x87cm and 79x63cm

Three formula one and Le Mans signed racing prints. Frame dimensions 88x87cm and 79x63cm

Lot number: 1507

Est: £40 - £60

A David Shepard framed print of seals. 80x58cm NO RESERVE

A David Shepard framed print of seals. 80x58cm NO RESERVE

Lot number: 1508

Est: £0 - £0

A large c.1800 unframed oil on canvas, landscape view with ruins. 105cm x 53cm NO RESERVE

A large c.1800 unframed oil on canvas, landscape view with ruins. 105cm x 53cm NO RESERVE

Lot number: 1509

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: 1510

Est: £400 - £600

An Istak Tarkay (1935-2012) framed and signed limited edition print. Frame dimensions 46x46cm

An Istak Tarkay (1935-2012) framed and signed limited edition print. Frame dimensions 46x46cm

Lot number: 1511

Est: £50 - £100

An Istak Tarkay (1935-2012) framed and signed limited edition print. Frame size 40x46Cm

An Istak Tarkay (1935-2012) framed and signed limited edition print. Frame size 40x46Cm

Lot number: 1512

Est: £50 - £100

A Virginia water etching- View from the Northside of the Virginia River near the Manour Lodge. Frame 60x36cm

A Virginia water etching- View from the Northside of the Virginia River near the Manour Lodge. Frame 60x36cm

Lot number: 1513

Est: £30 - £50

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

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

Lot number: 1514

Est: £80 - £100

A framed watercolour English rural scene Parker Hagarty. Frame dimensions 36x56cm NO RESERVE

A framed watercolour English rural scene Parker Hagarty. Frame dimensions 36x56cm NO RESERVE

Lot number: 1515

Est: £0 - £0

Three framed pictures including a countryside scene oil painting by John Hawkins , water painting of a windmill and another country watercolour scene NO RESERVE

Three framed pictures including a countryside scene oil painting by John Hawkins , water painting of a windmill and another country watercolour scene NO RESERVE

Lot number: 1516

Est: £0 - £0

A framed english watercolour view of a flock of sheep. Frame Dimensions 71x51cm

A framed english watercolour view of a flock of sheep. Frame Dimensions 71x51cm

Lot number: 1517

Est: £40 - £60

A 19th century oil painting study of a Dutch vessel off a pier with figures unsigned, later frame. Frame dimensions 75x56cm

A 19th century oil painting study of a Dutch vessel off a pier with figures unsigned, later frame. Frame dimensions 75x56cm

Lot number: 1518

Est: £40 - £60

Four framed prints some signed limited editions by the established Israeli artist Dorit Levi (b1952) (4)

Four framed prints some signed limited editions by the established Israeli artist Dorit Levi (b1952) (4)

Lot number: 1519

Est: £40 - £60

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: 1520

Est: £800 - £1,000

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

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

Lot number: 1521

Est: £50 - £80