Florence Henri (German, 1893-1982) Seven Photographs of Photomontages, from the series ROME, and one from the series GLORY THAT WAS GREECE, 1936, printed 1976. All signed "F. Henri." in black ink within or below the image l.l. or l.r., titled, dated, and numbered either "8/9" or "e.a." in black ink on the verso u.c., stamped "PHOTO/Florence Henri" in purple ink on the verso l.c. Gelatin silver prints, image sizes to 9 x 6 7/8 in. (22.6 x 17.5 cm), unmatted, unframed. Condition: Minor wear at corners. N.B. Florence Henri studied art in Rome, Berlin, and Paris before arriving in 1927 at the Bauhaus in Dessau where she learned the basic technical and visual principles of photography from László Moholy-Nagy and Lucia Moholy Henri is best known for her self-portraits, many of which employ mirrors to evocatively manipulate reflections and spatial relationships. In 1931, she adopted the technique of collage which became an effective substitute for the mirror in creating fragmented spaces and perspectival and planar incongruities. She then re-photographed the resulting compositions. Henri's dream-like reimaginings of architectural and sculptural ruins in the ancient city of Rome are suffused with a deep longing for the past.
Florence Henri (German, 1893-1982) Seven Photographs of Photomontages, from the series ROME, and one from the series GLORY THAT WAS GREECE, 1936, printed 1976. All signed "F. Henri." in black ink within or below the image l.l. or l.r., titled, dated, and numbered either "8/9" or "e.a." in black ink on the verso u.c., stamped "PHOTO/Florence Henri" in purple ink on the verso l.c. Gelatin silver prints, image sizes to 9 x 6 7/8 in. (22.6 x 17.5 cm), unmatted, unframed. Condition: Minor wear at corners. N.B. Florence Henri studied art in Rome, Berlin, and Paris before arriving in 1927 at the Bauhaus in Dessau where she learned the basic technical and visual principles of photography from László Moholy-Nagy and Lucia Moholy Henri is best known for her self-portraits, many of which employ mirrors to evocatively manipulate reflections and spatial relationships. In 1931, she adopted the technique of collage which became an effective substitute for the mirror in creating fragmented spaces and perspectival and planar incongruities. She then re-photographed the resulting compositions. Henri's dream-like reimaginings of architectural and sculptural ruins in the ancient city of Rome are suffused with a deep longing for the past.
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.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
