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, marked with initials of subject and photography (verso) 12.5cm x 18cm, (28cm x 35cm framed), SOLD

This photograph was taken by Jared French. 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 image depicts the artists Paul Cadmus and George Tooker, who were in a relationship together in the late 40s.

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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, 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, with artist’s blind stamp (lower right), 13cm x 8.5cm, (37cm x 31cm framed), £1,750

Van Vechten is most famous for his portraiture photography, however, he also took private homoerotic images. Meeres was a dancer and nightclub owner, who had starred with Josephine Baker at the "Folies Bergere" in Paris. For further information about this 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 (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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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, signed and titled (recto), 35,5 x 28 cm (sheet size), (48cm x 42cm framed), £2,000

A New Orlean’s artist and photographer, credited as being a considerable influence on the work on Robert Mapplethorpe.

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Silver print, with numeric notation and stamp of collection of Jon Anderson (verso), 12cm x 18cm (41cm x 44cm framed), £5,500

In 1937, the painters, Paul Cadmus, Jared French and Margaret French began to experient 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, 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.

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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 bromide print, stamped 'Depose, Lehnert & Landrock phot. Tunis, 1045' (verso), Studio stamp (recto), 24cm x 18cm, (38cm x 31cm framed), £1,250

Lehnert & Landrock were a photographic duo active in North Africa in the early 20th century. They created images of the scenes and people they encountered in Morocco, Egypt and Tunisia.

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Selenium toned gelatin silver print, signed, dated, and numbered 4/5, 18cm x 18cm (print size), 25cm x 20cm (sheet size), (50cm x 40cm in mount), unframed, £1,500

Based in Berlin, an American photographer who remains committed to analogue photography.

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Silver print, studio stamp (verso), 19cm x 19cm, (50cm x 40cm in mount), unframed, £1,200

Tress is one of the most renowned and innovative photographers of his generation. Citing his influences as Hokusai, Frank Lloyd Wright, Picasso, El Lissitzky, Duane Michaels and W Eugene Smith, his work is often staged, directing work and repurposing found materials or scenes in an inventively subjective manner, Tress’s work is rich with implication and fantasy. Impeccably composed, the photographs constantly explore the world around him. He is one of photography’s most singular and consistently original practitioners. Tress has exhibited widely and published numerous books of his work. In 'Theater of the Mind' (1976) Tress explored adult fantasies and began a period of overtly erotic work. In Facing Up (1980), Tress moved to openly gay photographic fantasies. Large sections of his archive have now been accepted into the Stamford University archive.

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Silver print, 20.5cm x 20cm, (50cm x 40cm in mount), unframed, £1,200

Tress is one of the most renowned and innovative photographers of his generation. Citing his influences as Hokusai, Frank Lloyd Wright, Picasso, El Lissitzky, Duane Michaels and W Eugene Smith, his work is often staged, directing work and repurposing found materials or scenes in an inventively subjective manner, Tress’s work is rich with implication and fantasy. Impeccably composed, the photographs constantly explore the world around him. He is one of photography’s most singular and consistently original practitioners. Tress has exhibited widely and published numerous books of his work. In 'Theater of the Mind' (1976) Tress explored adult fantasies and began a period of overtly erotic work. In Facing Up (1980), Tress moved to openly gay photographic fantasies. Large sections of his archive have now been accepted into the Stamford University archive.

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Silver print, studio stamp (verso), 19cm x 19cm, (50cm x 40cm in mount), unframed, £950

Tress is one of the most renowned and innovative photographers of his generation. Citing his influences as Hokusai, Frank Lloyd Wright, Picasso, El Lissitzky, Duane Michaels and W Eugene Smith, his work is often staged, directing work and repurposing found materials or scenes in an inventively subjective manner, Tress’s work is rich with implication and fantasy. Impeccably composed, the photographs constantly explore the world around him. He is one of photography’s most singular and consistently original practitioners. Tress has exhibited widely and published numerous books of his work. In 'Theater of the Mind' (1976) Tress explored adult fantasies and began a period of overtly erotic work. In Facing Up (1980), Tress moved to openly gay photographic fantasies. Large sections of his archive have now been accepted into the Stamford University archive.

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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.

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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.

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Bromide print, signed, annotated and editioned 1/10 (verso), 40m x 30cm, (50cm x 40cm in mount), unframed, £1,500

This edition was printed for exhibition at the National Portrait Gallery, London, (Feb - Jul 2002) as a celebration of competitors in the 2002 Commonwealth Games.

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Bromide print, signed, annotated and editioned 1/10 (verso), 30m x 40cm, (40cm x 50cm in mount), unframed, £1,500

This edition was printed for exhibition at the National Portrait Gallery, London, (Feb - Jul 2002) as a celebration of competitors in the 2002 Commonwealth Games.

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Bromide print, signed, annotated and editioned 1/10 (verso), 40m x 30cm, (50cm x 40cm in mount), unframed, £1,500

This edition was printed for exhibition at the National Portrait Gallery, London, (Feb - Jul 2002) as a celebration of competitors in the 2002 Commonwealth Games.

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Bromide print, signed, annotated and editioned 1/10 (verso), 30m x 40cm, (40cm x 50cm in mount), unframed, £1,500

This edition was printed for exhibition at the National Portrait Gallery, London, (Feb - Jul 2002) as a celebration of competitors in the 2002 Commonwealth Games.

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Bromide print, signed, annotated and editioned 1/10 (verso), 30m x 40cm, (40cm x 50cm in mount), unframed, £1,250

This edition was printed for exhibition at the National Portrait Gallery, London, (Feb - Jul 2002) as a celebration of competitors in the 2002 Commonwealth Games.

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Pigment print, flush-mounted onto heavyboard, with a signed certificate of authenticity, edition 1/10, 50cm x 80cm (56cm x 87cm framed), £2,750

In 2017, van den Heuvel was artist-in-residence at the Netherlands Interuniversity Art History Institute in Florence. During her stay in Florence, she was inspired by the nature and classical antiquity around Florence, Rome and Tivoli and created her series Corpus Dei, Divine body.

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Gelatin silver print, signed (verso), edition 5/9, 61cm x 51cm (69cm x 59cm framed), SOLD

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, titled, stamped ‘Collection of Paul Cadmus’, and marked photo by .J.F. (Jared French) (verso), 11cm x 16.5cm, (31.5cm x 36cm framed), SOLD

This photograph is by Jared French. 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. No great care was taken in their printing or their possession until the 80s, when they started to exhibit them and sell them to collectors.

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, 24cm x 14.5cm, (42cm x 33cm framed). SOLD

This photograph is by Jared French. In 1937, the painters, Paul Cadmus, Jared French and Margaret French began to experient with a camera during summers on Fire Island, Provincetown and New York. They studied themselves and their friends over a period of 20 years. This photo appears in the book ‘Collaboration: The Photographs of Paul Cadmus, Margaret French and Jared French’, by Twelvetrees Press.

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 ferrotype print (printed late 1970s), 19.7cm x 20.3cm (image size), 20.3cm x 25.4cm (sheet size), (33cm x 34cm framed), provenance Glen Wescott and John Stevenson, SOLD

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.

This photo depicts the artist painting the photographer in his work from 1937. see also The Young and Evil, David Zwirmer Books, 2019, p.65

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Silver print (estate print edition '7/15'), stamped (verso), 32cm x 22cm (image size), (47cm x 34cm framed), SOLD

List was a German photographer, who worked for magazines, including Vogue, Harper's Bazaar, and Life, and was associated with Magnum Photos. His austere, classically posed black-and-white compositions, particularly his homoerotic male nudes, taken in Italy and Greece being influential in modern photography and contemporary fashion photography. He was a titan of early 20th century photography, and his work remains highly collectible to this day.

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Silver print (estate print), stamped (verso), 34.5cm, x 27.5cm (image size), (47cm x 40cm framed), SOLD

List was a German photographer, who worked for magazines, including Vogue, Harper's Bazaar, and Life, and was associated with Magnum Photos. His austere, classically posed black-and-white compositions, particularly his homoerotic male nudes, taken in Italy and Greece being influential in modern photography and contemporary fashion photography. He was a titan of early 20th century photography, and his work remains highly collectible to this day. This work appears in Herbert List, Junge Manner, 1989, (Twinpalms Publishers), plate 3.

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Silver print, signed (lower right) and numbered '1/35' (lower left), 47cm x 31.5cm (print size), 51cm x 40.cm (sheet size), (66cm x 49cm framed), SOLD

Most famous for his Polaroids, particularly on Fire Island, Bianchi’s work was ground-breaking in his celebration of gay life from the late 70s onwards.

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