Pencil on paper, initialled (lower right), 23cm x 17cm, (38cm x 32cm framed), £3,000. (Provenance: from the collection of the artist Michael Leonard (British 1933-2023).

Vaughan was a British painter. His work is held in the collections of the Government Art Collection, National Galleries Scotland, National Portrait Gallery, Tate and Victoria and Albert Museum in the UK. In the 1940s, with his friend John Minton, he was one of the leading exponents of Neo-Romanticism, characteristic works of this time being coloured drawings of moonlit houses. His later work, in which he concentrated on his favourite theme of the male nude in a landscape setting, became grander and more simplified, moving towards abstraction.

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Pastel and coloured chalks on paper, titled and signed (lower right), 83cm x 56cm, (94cm x 67cm framed), £1,750

Cayford, now retired, was a graphic designer and illustrator working in London in the postwar period. His works of the male form were shown predominantly in London, and are in many private collections.

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Oil on canvas, signed and dated (lower left), 30cm x 24cm (41cm x 34cm framed), £6,000

A prodigious talent from an early age, Pagliacci took part in the Venice Biennale in 1929 or 1930 at age 16 or 17. For 20 years after WWII, he lived and worked in Brazil, Argentina, Chile, Peru, Mexico, Bolivia and Venezuela, before moving back to Rome in 1971. This work, undoubtedly painted in South America, evokes a repeated motif in his work; a Harlequin. Although little is written of his private life, a great deal of his work has an overwhelming homoerotic flavour.

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Oil on canvas, signed (lower left), 59cm x 49cm (72cm x 62cm framed), £7,500

An Australian artist, who studied at the Royal Academy in London in the 1930s, Abbott became highly accomplished in portraiture, still life, and genre paintings. After enlisting in the army during WWII, in 1943 he was appointed an official war artist. After the war, he dedicated himself to teaching at the National Art School in Sydney, where he later became the head and State Supervisor of Art. The style and composition of the painting, suggests it was painted in the 1950s; by the late 1960s Abbott abandoned narrative and figurative works in favour of bold abstract compositions. His work is in the collections of National Gallery of Australia, the Art Gallery of New South Wales, as well as various regional art galleries across Australia.

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Oil on board, signed (lower left), 25cm x 33cm, (40cm x 48cm framed), £3,500

A realist painter at first, Delmotte was influenced by Expressionism of the beginning of the century, before turning to the symbolic style and developing his great compositions with mysterious landscapes and futuristic architectures. Here he has drawn on Greek mythology, but painted the scene in his own unique style.

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Gouache on paper, signed (lower left) and titled (lower right), 68cm x 88cm, (88cm x 108cm framed), £4,000

A realist painter at first, Delmotte was influenced by Expressionism of the beginning of the century, before turning to the symbolic style and developing his great compositions with mysterious landscapes and futuristic architectures. Here he has drawn on Greek mythology, but painted the scene in his own unique style.

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Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), SOLD

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), SOLD

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £1,250

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £1,250

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), SOLD

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £2,500

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £1,250

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £2,000

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £2,000

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £2,000

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £2,000

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Etching, Set B, ‘295/500’ 35cm x 23cm (plate size), 47cm x 33cm (sheet size), (51cm x 36.5cm framed), £1,750

In 1966, Hockney created a series of delicate line drawings of intimate scenes between men, inspired by the writings of the Greek Egyptian poet Constantine Cavafy (1863-1933). “Of course Cavafy’s poems are about gay love, and I was quite boldly using that subject then. I was aware that it was illegal, but I didn’t really think much about that at the time. I was living in a bohemian world, were we just did what we pleased. I wasn’t speaking for anybody else. I was defending my way of living.” (David Hockney).

To enquire about this work, click HERE

Watercolour, signed (lower right), 14cm x 9cm, (32cm x 25cm framed), £1,250

Active within the Gay Liberation Front in London from its inception in 1970, Hutter showed at group exhibitions at the Royal Academy, the Royal Watercolour Society and the Royal Institute of Painters in Watercolours. He had numerous solo shows across London, and a retrospective at The Bloxham Galleries in 2000.

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Graphite and coloured pencil on paper, signed and dated (lower right), 36cm x 44cm, (45cm x 53cm framed), £2,500

Throughout his long career, Lear primarily explored homoeroticism in a truly unique style. He is an artist who remained true to his style and genre, at a time when exploring the male form in art was truly unfashionable. His work is in the collections of the Philadelphia Museum of Art, Woodmere Art Museum, the Detroit Institute of Arts.

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Screenprint, signed (lower right) and numbered ‘135/180’ (lower left), 100cm x 70cm, (105cm x 75cm framed), £1,750

Tsarouchis was a gay Greek modernist painter and set designer who achieved international fame, and was "known in particular for his homoerotic subjects," including soldiers, sailors, and nude males. The subject of the picture, appears in a number of Tsarouchis’s works.

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Lithograph, signed (lower right) and numbered ‘33/75’ (lower left), 50cm x 58cm (print size), (69cm x 74cm framed), £1,750

Tsarouchis was a gay Greek modernist painter and set designer who achieved international fame, and was "known in particular for his homoerotic subjects," including soldiers, sailors, and nude males.

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Lithograph, signed (in the plate), 101cm x 64cm, (105cm x 66cm framed), £850

Associated with the British Pop art movement of the late 1960s, Jones is known for his work with lithography, painting, drawing, and sculpture.

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Charcoal and coloured chalks, signed and dated (lower right), 60cm x 48cm, (71cm x 60cm framed), £2,250

A sculptor and artist, Dobson began as a painter, and his early work was influenced by cubism, vorticism, and futurism. After WW1, he turned increasingly toward sculpture in a more or less realist style. Throughout the 1920s and the early 1930s he built a reputation as an outstanding sculptor. From 1946 to 1953 he was Professor of Sculpture at the Royal College of Art. He was elected to the Royal Academy in 1953. Dobson is now seen as one of the most important British sculptors of the 20th century.

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Oil on board, signed and titled (verso), 11cm x 15cm, (27cm x 23.5cm framed), £3,500

An artist, who also served on the board of the National Gallery of Australia, was a truly original painter. By the 60’s, many of his paintings had homoerotic undertones, something which reflected on Gleeson's own homosexuality. Here he uses the Greek myth of Icarus, to explore his interest in homoeroticism.

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Oil on board, signed (lower left), 15cm x 11cm, (29cm x 25.5cm framed), £4,000

An artist, who also served on the board of the National Gallery of Australia, was a truly original painter. By the late 60’s, many of his paintings had homoerotic undertones, something which reflected on Gleeson's own homosexuality. Here he uses the Greek myth of Icarus, to explore his interest in homoeroticism.

To enquire about this work, click HERE

Pastel and chalk on paper, dated and marked ‘Bruce S’ (upper left), 75cm x 55cm, (79cm x 60cm framed). (Provenance; the artist’s estate, stamped verso). £1,750

Following a career in Special Operations during the war, Stonehouse went to the US and continued his career as a fashion artist painting for magazines like Vogue, Harper's Bazaar and Elizabeth Arden. He was also an accomplished portraitist.

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Charcoal and gouache on paper, titled ‘Phil Richards’ and dated ‘Friday Dec 8 72’ (lower left), 64cm x 48cm (72cm x 56cm framed).(Provenance: the Artist’s estate (stamped verso)), £1,750

Following a career in Special Operations during the war, Stonehouse went to the US and continued his career as a fashion artist painting for magazines like Vogue, Harper's Bazaar and Elizabeth Arden. He was also an accomplished portraitist.

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Watercolour, signed lower right (in pencil), 31cm x 43cm (49cm x 59cm framed), £2,500

Active within the Gay Liberation Front in London from its inception in 1970, Hutter showed at group exhibitions at the Royal Academy, the Royal Watercolour Society and the Royal Institute of Painters in Watercolours. He had numerous solo shows across London, and a retrospective at The Bloxham Galleries in 2000. The book pictured within the picture is ‘The Sexual Perspective. Homosexuality and Art in the Last 100 Years in the West’, by Emmanuel Cooper, first published in 1986.

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Oil on canvas, signed and dated (lower right), 78cm x 100cm, (86cm x 107cm framed), £1,500

From 1933-1938, Pollitzer was chief designer at Pilkington Glass. Postwar he exhibited as an artist, at places such as the Redfern Gallery. A self-taught artist, with an original eye, and a true mastery of line and form.

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Charcoal, ink and ink wash, and collage on paper, signed and dated (lower right), 70cm x 51cm (78cm x 59cm framed), £7,500

An artist, who also served on the board of the National Gallery of Australia, was a truly original painter. By the late 60’s, Many of his paintings had homoerotic undertones, something which reflected on Gleeson's own homosexuality. In keeping with the Freudian principles of surrealism, he composed works which, he said, symbolized the inner workings of the human mind.

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Oil on board, signed (lower right), 24.5cm x 19cm (40cm x 35cm framed), £8,500

An artist, who also served on the board of the National Gallery of Australia, was a truly original painter. By the late 60’s, Many of his paintings had homoerotic undertones, something which reflected on Gleeson's own homosexuality. In keeping with the Freudian principles of surrealism, he composed works which, he said, symbolized the inner workings of the human mind.

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Lithograph, marked ‘Tav 3, Es 21/94’ (lower left) and signed (lower right), 48cm x 33cm (plate size) (66cm x 49cm framed), £1,250

This print is from a series of 10 prints entitled I Cavalli. It was produced in an edition of 94, with 11 additional AP’s. De Chirico’s work can be found many major public collections, including the Tate Gallery and MOMA.

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Watercolour, felt tip pen, and pencil on paper, titled (lower left), 48cm x 37cm, (70cm x 58cm framed). £4,750

Patrick Procktor was part of an influential group of British artists in the 1960s. His early paintings were dynamic, abstract depictions of the male nude, before he established himself as one of the leading watercolourists of his generation from the 1970s His work is held in many major public collections.

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Tempera on board, 87cm x 60cm (framed 106cm x 78cm). £3,500

A British painter and visual artist, renowned for his use of the traditional egg tempera technique. He favoured the medium for its ability to depict clear lines, razor sharp detail and bright colour.

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Pencil, coloured pencil and chalk on paper, titled (lower left), signed (lower right), 31cm x 46cm, (51cm x 68cm framed), £2,250

An important figure in American 20th realism, Koch’s work in contained in many US public collections, including the Metropolitan Museum of Art, the Smithsonian American Art Museum, the Whitney Museum of American Art, and the Museum of Fine Arts, Boston.

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Black and white chalk on paper, signed (upper left), 29cm x 24cm, (framed 45cm x 40cm), £2,750

Cadmus was a hugely successful American artist, whose work is contained in many public collections, including the Whitney Museum & Smithsonian Museum of American Art.

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Pastel, charcoal, and watercolour on paper, 5cm x 42cm (70cm x 57cm framed), (Provenance: the Artist’s estate), £1,500

Following a career in Special Operations during the war, Stonehouse went to the US and continued his career as a fashion artist painting for magazines like Vogue, Harper's Bazaar and Elizabeth Arden. He was also an accomplished portraitist.

To enquire about this picture, click HERE

Charcoal on paper, inscribed and dated (upper left), 60cm x 48cm (80cm x 66cm framed), (Provenance: the Artist’s estate), £1,500

Following a career in Special Operations during the war, Stonehouse went to the US and continued his career as a fashion artist painting for magazines like Vogue, Harper's Bazaar and Elizabeth Arden. He was also an accomplished portraitist.

To enquire about this picture, click HERE

Gouache and charcoal on paper, 53cm x 37cm (74cm x 55cm framed), (Provenance: the Artist’s estate (stamped verso)), £1,500

Following a career in Special Operations during the war, Stonehouse went to the US and continued his career as a fashion artist painting for magazines like Vogue, Harper's Bazaar and Elizabeth Arden. He was also an accomplished portraitist.

To enquire about this picture, click HERE

Oil on board, signed and dated (lower right), 122cm x 60cm (136cm x 75cm framed), price on request.

Attending the Slade School in 1958, there he was influenced by artists including William Coldstream and Keith Vaughan, developing a dark, figurative painting style. Successful in his lifetime, there has been a major resurgence of interest in his work since his death. His work is held in many major public collections. Patrick Procktor: Art and Life, Ian Massey, (Unicorn Press, 2010) at p.14.

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Pencil on paper, signed (upper right), 76cm x 56cm (88cm x 68cm framed), £2,000

A graduate of the Kiev Art Academy in 1957. Drawings of the nude, called academic studies, were central to academic art training in Europe from the 16th century onwards. With the decline of academic art in the Western art tradition, the practice declined in importance. However, in Russia the practice still continues today.

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Pencil on paper, signed (upper right), 56cm x 35cm (65cm x 44cm framed), £1,750

Drawings of the nude, called academic studies, were central to academic art training in Europe from the 16th century onwards. With the decline of academic art in the Western art tradition, the practice declined in importance. However, in Russia the practice still continues today.

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Pastel on board, 82cm x 94cm, (95cm x 107cm framed), £3,500

A graduate of the RA schools in the 1950s, Plummer’s principal focus in his output throughout his career, was the human form; primarily the nude. His work is truly original in both nature and style.

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Tempera on board, signed (lower right), 50cm x 40cm, (58cm x 48cm framed), £4,500

A graduate of the RA schools in the 1950s, Plummer’s principal focus in his output throughout his career, was the human form; primarily the nude. His work is truly original in both nature and style.

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Oil on board, 62cm x 42cm, (70cm x 50cm framed), £2,000

A graduate of the RA schools in the 1950s, Plummer’s principle focus in his output throughout his career, was the human form; primarily the nude. His work is truly original in both nature and style.

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sepia watercolour, signed and dated (lower left), 51cm x 34cm (framed 68cm x 52cm), £2,500

A graduate of the RA schools in the 1950s, Plummer’s principle focus in his output throughout his career, was the human form; primarily the nude. His work is truly original in both nature and style.

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pen, ink, pencil and chalk, 44cm x 30cm (framed 62cm x 47cm), £2,000

A graduate of the RA schools in the 1950s, Plummer’s principle focus in his output throughout his career, was the human form; primarily the nude. His work is truly original in both nature and style.

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Pen and ink and wash on paper, 45cm x 63cm, (61cm x 83cm framed),£2,000

This is a study for the painting 'African Prison', held within Sheffield Museums collection. He also has works in many other public collections including the Tate Gallery.

For further information about de Francia click HERE

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Pencil and charcoal on the reverse of typed correspondence, signed 'Sironi' (lower right), 26cm x 20cm (63cm x 49cm framed), £1,250

Sironi was an Italian modernist artist whose works are held in numerous public collections, including the Guggenheim Venice and the Tate. This piece was previously owned by Erik Estorick.

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Oil on canvas, signed (in the postcard), 61cm x 45.cm, (77cm x 62cm framed), SOLD

Alongside his more conventional output, Hennessy created a body of work which was far more personal and, for its time, ground-breaking. He addressed issues of masculinity, sexual identity and homosexuality, which, for post-war Ireland was highly extraordinary and extremely brave. This painting depicts a 16thC Florentine marble (Jason and the Golden Fleece currently in the V & A collection), portrayed as a magazine page pinned to a timber plank, with a red rose projecting through the paper. Hennessy has signed the painting, on an envelope within the picture. The stamp is a self-portrait. Exbibited: De Profundis, Patrick Hennessy, IMMA, 2016.

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