Name: HENRI CARTIER–BRESSON (1908–2004)
Brand: Valencia, Spain, 1933
Price: 7000.00 USD
Availability: SoldOut

HENRI CARTIER–BRESSON (1908–2004)
Valencia, Spain, 1933
gelatin silver print, printed 1981
signed in ink and embossed with photographer's credit (margin); credited, titled and dated on affixed exhibition labels (frame backing board)
image: 9¹⁄₄ x 13⁷⁄₈ in. (23.4 x 35.2 cm.)
sheet: 12 x 16 in. (30.4 x 40.6 cm.)

Helen Wright/The Atelier Group, New York;
acquired from the above by the present owner, 1981.

Lincoln Kirstein and Beaumont Newhall, The Photographs of Henri Cartier-Bresson, The Museum of Modern Art, New York, 1947, p. 16.
Henri Cartier-Bresson, The Decisive Moment, Simon and Schuster, New York, 1952, pl. 12.
Peter Galassi, Henri Cartier-Bresson: The Early Work, The Museum of Modern Art, New York, 1987, p. 107.
Exhibition catalogue, The Art of Photography 1839–1989, The Royal Academy of the Arts, London, 1989, pl. 280.
Philippe Abraizar et al., Henri Cartier-Bresson: The Man, the Image and the World, Thames and Hudson, New York, 2003, pl. 102, pp. 92-93.
Martine Franck et al., Henri Cartier-Bresson: Scrapbook, Thames and Hudson, New York, 2006, cat. no. 86, p. 131.
Peter Galassi, Henri Cartier-Bresson: The Modern Century, The Museum of Modern Art, New York, 2010, p. 95.
W.M. Hunt, The Unseen Eye: Photographs from the Unconscious, Aperture, New York, 2011, p. 34-35

Arles, Recontres de la Photographie; Lausanne, Musée de l'Élysée; Amsterdam, FOAM Fotogafiemuseum, Sans Regard or No Eyes: Photographs from W.M. Hunt / Collection Dancing Bear, 2005-2007.
Ocala, Appelton Museum of Fine Arts, The Unseen Eye: Photography from the Collection of W.M. Hunt, November 7, 2010–January 2, 2011.
Rochester, George Eastman House, The Unseen Eye: Photographs from the W.M. Hunt Collection, October 1, 2011–February 19, 2012.

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Lot Essay

'Henri Cartier-Bresson photographs seem so effortless and essential, rhythmic and graceful. They are Cartesian, often dividing into complementary thirds, perfectly balanced. And they do not reveal themselves easily. What is driving this dervish-like frenzy or how do we account for the bloodlike splashes on the wall behind the boy? What took place here? It is unnerving. We are left apprehensive. We don't really know what happened so we are subtly drawn into creating our own scenarios, unwitting collaborators in a search for meaning.' – W.M. Hunt