Francis Bacon and George
Dyer at The French House, London, mid 1960s, Photograph: Mario Dondero, MB Art Collection
© Mario Dondero
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Francis Bacon and George
Dyer at The French House, London, mid 1960s, Photograph: Mario Dondero, MB Art Collection
© Mario Dondero

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Armet Francis was the first Black photographer to have a solo show at The Photographers' Gallery in 1983. There was no visual record of Black British life because nobody in the institution was building one, so Francis decided to make it himself.
Francis arrived in London from Jamaica in 1955, aged 10, as part of the Windrush. Left school at 14, worked in an engineering firm before finding his way into a West End photographic studio. By the '60s, he was shooting for tashion magazines as one of the only Black photographers in the space. And after establishing himself and looking back at his journey, he realised that throughout his career, he d been photographing fashion within a white infrastructure, for white publications, in white spaces, and his portfolio didn't document life from his own community.
In 1969, he returned to Jamaica for the first time in 14 years. However, it was while attending Festac '77 in Lagos, Nigeria, that he decided to devote his time to photographing the African diaspora. What followed was the visual record of Black Britain through his lens. Bringing both experiences together, he staged outdoor fashion shoots at Brixton Market for '19 Magazine', using a Black cast in bold '70s style against the stalls and textures. At a time when magazines were using Black people as backdrops, Francis placed them front and centre inside of their own communities. It was social commentary positioned as fashion photography.
This is a deeply personal artwork for Jean-Michel, "Gravestone" from 1987, created in commemoration of the loss of a dear friend and collaborator. As Sotheby's writes:
"Shocked and devastated by the tragic, unexpected death of Andy Warhol in February 1987, Jean-Michel Basquiat immediately turned back to his practice, creating among the most urgent, impassioned, and defining works of his mature oeuvre: Gravestone.
Emblazoned twice with the word PERISHABLE, Gravestone represents a watershed moment of reflection and reckoning in Basquiat's personal life and artistic development. Shattered by the loss of his friend and former collaborator, Basquiat paid homage to Warhol through a profound reconstitution of the artistic idiom that defined his early found support works of the early 1980s before his meteoric critical ascension.
Here, Basquiat fashions three wooden panels together, realizing a pseudo-altarpiece in metallic hues which operates as both a tribute to Warhol and an existential commentary on the transience of life. An extraordinary and poetic monument and radically self-conscious expression of his own mortality, Gravestone from 1987 is utterly singular in Basquiat's revolutionary oeuvre."
Source: Sotheby's
Artwork: Jean-Michel Basquiat, "Gravestone," 1987.

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Boxers of Manila
D.H. Lawrence
New Mexico, ca. 1923.
Roger Mayne: Bowler, Street Cricket,
Addison Place, London, 1957
Thomas Wilmer Dewing,
The Sorcerer’s Slave, 1877

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In the 1930’s, with his winning personality, as well as a reputation for good manners, sportsmanship and honourable conduct towards his opponent, Gottfried Von Kramm was considered by some to be the best tennis player in the world. By 1937, with a Second World War looming over Europe, Gottfried was quite literally playing for his life. Tall, blonde haired, square jawed, he was a Nazi wet dream, an ideal to promote their propaganda but there was a problem. The Saxon aristocrat was homosexual and worse yet in their ideology, he was in love with a young Jewish actor, Manasse Herbst. Although Gottfried wasn’t willing to go along with any of the Nazi’s plans for him, he was safe as long as he kept winning. That would all come to a halt in 1937 when he was defeated on the court by American Don Budge at the Davis Cup. In the locker room following his manager called him “ a traitor to the nation”. Despite his enormous popularity with the public, in 1938, von Cramm was arrested by the German government and tried on the charge of a homosexual relationship. After being hospitalized for a nervous collapse after his arrest, Gottfried von Cramm was sentenced to one year's imprisonment. Cramm admitted the relationship, which had lasted from 1931 until 1934 and had begun shortly before he married his first wife. He was additionally charged with sending money to Herbst, who had moved to Palestine in 1936. After serving his sentence, Gottfried Cramm was conscripted into military service as private soldier fighting in the Eastern Front under harsh conditions but secretly involved in the German resistance movement. After the war, he would return to tennis but his “best” years of his sport were lost to war. While on a business trip in 1976 Von Cramm and his driver were killed in an automobile accident near Cairo, Egypt, when the car collided with a truck. A year following, Gottfried von Cramm was inducted into the International Tennis Hall of Fame.
Gustave Courbet (French, 1819–1877)
Les Lutteurs, 1853