Staceys Auction

Catalogue

Wed 29th Apr 2026: 29042026

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

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

Lot number: 2015

View lot
A gilt framed oil on canvas river view signed Corot, approx 72cm x 55cm.

A gilt framed oil on canvas river view signed Corot, approx 72cm x 55cm.

Lot number: 2016

View lot
A framed watercolour , children with birds nest signed and dated 1864

A framed watercolour , children with birds nest signed and dated 1864

Lot number: 2017

View lot
A Ken Stroud oil on board painting, wildlife artwork depicting grey seals on a rocky coastline. Frame dimensions 100x47cm

A Ken Stroud oil on board painting, wildlife artwork depicting grey seals on a rocky coastline. Frame dimensions 100x47cm

Lot number: 2018

View lot
A pair of oil paintings rural views signed H Cole. Frame sizes 60cm wide 24cm tall

A pair of oil paintings rural views signed H Cole. Frame sizes 60cm wide 24cm tall

Lot number: 2019

View lot
An unusual wool work tapestry / mixed media art work depicting an 18th Century Picnic scene of ladies and gentlemen in traditional dress for the time , watercolour background for Sky and Lake, with applied printed sections (Faces/Hands/food etc.) mounted within a carved oak frame. 71cm x 64cm

An unusual wool work tapestry / mixed media art work depicting an 18th Century Picnic scene of ladies and gentlemen in traditional dress for the time , watercolour background for Sky and Lake, with applied printed sections (Faces/Hands/food etc.) mounted within a carved oak frame. 71cm x 64cm

Lot number: 2020

View lot
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: 2021

View lot
Pip McGarry, 1955 - Present, original oil on canvas, “ seated Tigers within a snowy landscape”, 61cm x 25cm. Signed and dated 2007 (8820).

Pip McGarry, 1955 - Present, original oil on canvas, “ seated Tigers within a snowy landscape”, 61cm x 25cm. Signed and dated 2007 (8820).

Lot number: 2022

View lot
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: 2023

View lot
A framed and glazed vintage sign for 'Hires' Root beer for sale here. Dimensions 29x37cm- NO RESERVE

A framed and glazed vintage sign for 'Hires' Root beer for sale here. Dimensions 29x37cm- NO RESERVE

Lot number: 2024

View lot
A Charles Barrett Oil painting “Owl on branches” frame dimensions 48x43cm

A Charles Barrett Oil painting “Owl on branches” frame dimensions 48x43cm

Lot number: 2025

View lot
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: 2027

View lot
A John Hunt watercolour of Chew Valley Lake in winter, approx 47cm x 38cm including frame.

A John Hunt watercolour of Chew Valley Lake in winter, approx 47cm x 38cm including frame.

Lot number: 2028

View lot
A framed watercolour, view of Market Square in Italy by Denys G Wells (1881-1973). Frame dimensions 76x58cm

A framed watercolour, view of Market Square in Italy by Denys G Wells (1881-1973). Frame dimensions 76x58cm

Lot number: 2029

View lot
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: 2030

View lot
A framed oil on board painting titled Barge Match no2 by Jack Rigg 1988. Frame size 42x32cm

A framed oil on board painting titled Barge Match no2 by Jack Rigg 1988. Frame size 42x32cm

Lot number: 2031

View lot