Silver print, studio stamp (verso), 22cm x 27.5cm, (45cm x 41cm framed), £6,500

Herbert List was a classically educated artist who combined a love of photography with a fascination for surrealism and classicism. Under the dual influence of the surrealist movement on the one hand, and of Bauhaus artists on the other, List photographed still life and his friends, developing his style. He has described his images as “composed visions where [my] arrangements try to capture the magical essence inhabiting and animating the world of appearances.” A great deal of his work is homoerotic. His work was hugely influential on 20th century photography and is represented in the greatest collection of photography, from the MOMA NY to the V&A in London, The Getty Museum in LA to the Pompidou Center in Paris.

This photograph was taken in Hammamet, Tunisia, when List was visiting George Hoyningen-Huene and Horst P Horst there in 1933. (I would like to thank the Herbert List Estate for their assistance in correctly identifying the place and date of the image.)

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Silver print, studio stamp and title (verso), 23.5cm x 19cm (45cm x38cm framed), £5,000

A major force in American 20th century photography, he took his first photographs as a young artist living in New York and Paris in the 1920s. He maintained an interest in the male figure throughout his career and was part of a close-knit group of artists, including Paul Cadmus, Jared French, Margaret French, and George Tooker, who explored sexuality and the body in an age that increasingly favoured abstraction.

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Silver print (printed later), signed (in margin) and copyright stamp (verso), 36.5cm x 47.5cm (image size), 40.5cm x 50.5cm (sheet size), (51cm x 61cm framed), £6,000

One of the 20th century's premier photographers, Horst was a master of light, composition and atmospheric illusion, who conjured a world of sensual sophistication. Working mainly in Paris and New York, Horst created images that transcend fashion and time. In the early 1950s Horst produced a set of distinctive photographs unlike much of his previous work. The studies highlight Horst's sense of form, emphasising the idealised human body, using light and shadow. Monumental and anonymous nudes resemble classical sculptures. This image is one of a number of nudes that he exhibited for the first time in Paris in 1953. In the 1980s, he reprinted the images himself, to make them available to buy, following a resurgence of interest in his work.

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Silver print, printed later, signed (verso), 48cm x 33cm (image size), 50cm x 40cm (sheet size), (63cm x 48cm framed), £6,000

One of the 20th century's premier photographers, Horst was a master of light, composition and atmospheric illusion, who conjured a world of sensual sophistication. Working mainly in Paris and New York, Horst created images that transcend fashion and time. In the early 1950s Horst produced a set of distinctive photographs unlike much of his previous work. The studies highlight Horst's sense of form, emphasising the idealised human body, using light and shadow. Monumental and anonymous nudes resemble classical sculptures. This image is one of a number of nudes that he exhibited for the first time in Paris in 1953. In the 1980s, he reprinted the images himself, to make them available to buy, following a resurgence of interest in his work.

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Silver print, printed 1998 from original negative, blindstamp (lower right), numbered 21/90, dated and signed (verso), 37cm x 42cm (image size), (51cm x 56cm framed), £3,500

Dupain was an Australian modernist photographer, who set up his own studio in Sydney in the 1930s. In 1937, while on the south coast of New South Wales, he photographed the head and shoulders of an English friend, Harold Salvage, lying on the sand at Culburra Beach. But it was not until the 1970s that the photograph began to receive wide recognition. A print of the photograph was purchased in 1976 by the National Gallery of Australia and by the 1990s it had cemented its place as an iconic image of Australia. The entirety of his output is contained within the State Library of New South Wales.

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Silver print, signed, numbered '3/5' and titled (verso), 48cm x 58.5cm (image size), (64cm x 73cm framed), £4,750

Weber is perhaps best known for his fashion photography for major magazines such as GQ, and household American brand names such as Calvin Klein and Abercrombie & Fitch. With a body of work that expands beyond wholly commercial projects, Weber is credited with bringing the male body into the public spotlight during the 1980s, as both a fashion medium and a subject of Fine Art. With his casual photographs of handsome, fresh, and athletic American youth, Weber changed the world’s perception of masculinity.

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Silver bromide print on a postcard, 13cm x 8.5cm, (52cm x 42cm framed), £3,000. (Provenance; fashion designer, J W Anderson.)

Galdi was an Italian model and photographer and is recognised as a pioneer in Italian erotic photography. A descendant of Italian aristocracy, he developed an interest in photography whilst studying at the Institute of Fine Arts Naples. In 1886, he started to assist and collaborate with German photographer Guglielmo Plüschow, who at that time had a studio in Naples. Galdi also modeled for Plüschow. He also worked in theater as a set designer. Moving to Rome in 1890, the partnership lasted until 1902, when Galdi set up his own studio in Rome.

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Silver bromide print, titled ‘John B’ (verso), 17cm x 12cm (image size), 18cm x 13cm (sheet size), (36cm x 29cm framed), £4,500

In 1937, the painters, Paul Cadmus, Jared French and Margaret French began to experiment with a camera during summers on Fire Island, Provincetown and New York. They studied themselves and their friends over a period of 20 years. As Cadmus years later recounted, 'After we'd been working most of the day, we'd go out late afternoons and take photographs when the light was best. They were just playthings. We would hand out these little photographs when we went to dinner parties, like playing cards' (Jerry Rosco, Glenway Wescott Personally: A Biography, p. 78). Photographs by PaJaMa are rare as they were printed and gifted sparingly.

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Silver print, titled (verso) by Paul Cadmus, 11cm x 13cm, (33cm x 38cm framed), £5,000

In 1937, the painters, Paul Cadmus, Jared French and Margaret French began to experiment with a camera during summers on Fire Island, Provincetown and New York. They studied themselves and their friends over a period of 20 years. As Cadmus years later recounted, 'After we'd been working most of the day, we'd go out late afternoons and take photographs when the light was best. They were just playthings. We would hand out these little photographs when we went to dinner parties, like playing cards' (Jerry Rosco, Glenway Wescott Personally: A Biography, p. 78). Photographs by PaJaMa are rare as they were printed and gifted sparingly. This images depicts Jared French, known to them as Jerry.

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Silver bromide print, studio blind stamp (lower left), title and inventory number (verso), 18cm x 12.5cm (34cm x 28cm framed), £1,950

Van Vechten is most famous for his portraiture photography, however, he also took homoerotic images. Archie Savage was a pioneer of modern African-American dance. In 1939 Savage joined the Katherine Dunham Dance Troupe & was often featured as Dunham’s dance partner; later in the 1940s he founded The Archie Savage Dancers.

Van Vechton also photographed him in the nude. For further information about the homoerotic aspect of his work, see ‘The Homoerotic Photography of Carl Van Vechten: Public Face, Private Thoughts’, James Smalls, (Temple University Press, 2006).

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Silver print, studio stamp (verso), 19cm x 23cm, (34cm x 36cm framed), £2,500

A major force in American 20th century photography, he took his first photographs as a young artist living in New York and Paris in the 1920s. He maintained an interest in the male figure throughout his career and was part of a close-knit group of artists, including Paul Cadmus, Jared French, Margaret French, and George Tooker, who explored sexuality and the body in an age that increasingly favoured abstraction. This work is part of a series, in which he captured the celebrated ballet by George Ballanchine, with stage design by Isama Nogouchi, music by Stravinsky and performed by Francisco Moncion and Nicholas Magallanes of the New York City Ballet.

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Silver print, studio stamp (verso), 20cm x 23cm, (45cm x 46cm framed), £5,000

A major force in American 20th century photography, he took his first photographs as a young artist living in New York and Paris in the 1920s. He maintained an interest in the male figure throughout his career and was part of a close-knit group of artists, including Paul Cadmus, Jared French, Margaret French, and George Tooker, who explored sexuality and the body in an age that increasingly favoured abstraction.

To enquire about this picture, click HERE

C-Print, signed, titled and edition ‘3/15’ (recto), and certificate of authenticity (verso), 37cm x 56cm (image size), (59cm x 75cm framed), £1,250. (Provenance: in the collection of the artist Michael Leonard (British 1933-2023) until his death in 2023. The work had been given to him by Lucie-Smith.)

Edward Lucie-Smith, is a Jamaican-born English writer, poet, art critic, curator, broadcaster and photographer. He has been highly prolific in these fields, writing or editing over a hundred books, his subjects gradually shifting around the late 1960s from mostly literature to mostly art.

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Silver print (printed later), titled and dated (lower left), and signed in pen and with blind stamp (lower right), 27cm x 36.cm (image), (42cm x 51cm framed), £2,750

Spender was a photographer, painter and designer. In 30s, from his studio in the Strand, London, he became renowned for his commercial photography, working for publications such as Harper's Bazaar. By the late 30s. he was part of the Mass Observation movement, taking pictures of daily life in working class communities. He also worked for the hugely successful Picture Post during this period. With the coming of World War II, Spender was appointed an official war photographer. Around 1955 he abandoned photography for painting and textile design, and taught at the Royal College of Art from 1953 until he retired in 1975.

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Fresson print, inscribed ‘LAG 17033’ (verso), 29cm x 23cm, 37cm x 30.5cm (sheet size), (48cm x 41cm framed), £3,500

Albin-Guillot studied drawing and painting before becoming interested in photography. In 1925, she went on to have the first one-person exhibition at the Paris Autumn Salon. She also served as president of the French Societe des Artistes Photographes and in June 1928, was included in the first independent Salon of Photography in Paris.

Published in 1932, she took a series of male nudes taken for Henry de Motherlant’s La Deesse Cypris. The strongly cropped images in which the male nudes fill the entire frame accompany the author’s text about sensuality. In 1933, she collaborated with the poet Paul Valery on Le Narcisse, again depicting erotic subject matter. Albin-Guillot remained passionate about photography throughout her life and strove to have the art form formally recognized in her lifetime.

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Silver print, edition of 12, 18cm x 22cm (image size), (40cm x 50cm sheet size), framed, £1,350

Jacobson is widely known for his out of focus photographs of both the figure and the landscape. His work is in the collections of the Guggenheim Museum, the Metropolitan Museum, the Whitney Museum, the Victoria and Albert Museum.

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Silver print, edition of 12, 19cm x 25cm (image size), 40cm x 51cm (sheet size), framed, £1,350

Jacobson is widely known for his out of focus photographs of both the figure and the landscape. His work is in the collections of the Guggenheim Museum, the Metropolitan Museum, the Whitney Museum, the Victoria and Albert Museum.

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Gelatin silver print, signed (verso), edition 2/12, 40.5cm x 51cm (52cm x 42cm framed), £1,350

Jacobson is widely known for his out of focus photographs of both the figure and the landscape. His work is in the collections of the Guggenheim Museum, the Metropolitan Museum, the Whitney Museum, the Victoria and Albert Museum.

To enquire about this picture, click HERE

Gelatin silver print, signed (verso), edition 2/12, 40.5cm x 51cm (52cm x 42cm framed), £1,350

Jacobson is widely known for his out of focus photographs of both the figure and the landscape. His work is in the collections of the Guggenheim Museum, the Metropolitan Museum, the Whitney Museum, the Victoria and Albert Museum.

To enquire about this picture, click HERE