1976 Just What is it? Pop art in England 1947–1963:York
Art Gallery, York, United Kingdom
The Human Clay; Hayward Gallery, London
Pop art in England: Beginnings of a New Figuration 1947–
1963 ; Kunstverein in Hamburg, Hamburg, Germany
1981 Constructed Images; Falmouth School of Art, Cornwall
1983 Portraits and Lives; John Hansard Gallery, Southamp-
ton, United Kingdom
1984 Headhunters; Arts Council of Great Britain touring
exhibition
The Forgotten Fifties; City of Sheffield Art Galleries
1986 Contrariwise: Surrealism and Britain 1930–1986;
Glynn Vivian Art Gallery, Swansea, United Kingdom
1987 Conversations;Darlington Arts Centre, Devon
British Pop Art;Birch & Conran, London
This is Tomorrow Today; The Clocktower Gallery,
ICA, New York
1990 The Independent Group: Postwar Britain and the Aes-
thetics of Plenty; Institute of Contemporary Arts, Lon-
don and touring
1992 New Realities: Art in Western Europe 1945–1968; Tate
Gallery, Liverpool, United Kingdom
1995 Photographers’ London: 1839–1994; Museum of Lon-
don, London, United Kingdom
1997 From Blast to Pop: Aspects of Modern British Art,
1915–1965; David and Alfred Smart Museum of Art,
University of Chicago, Chicago, Illinois
Documenta X; Kassel, Germany
1998 Head First: Portraits from the Arts Council Collection;
Arts Council Collection touring exhibition
Young Meteors: British Photojournalism 1957–1965;
National Museum of Photography, Film and Television,
Bradford, United Kingdom
2001 Open City: Street Photographs 1950–2000; Museum of
Modern Art, Oxford, United Kingdom
As Found; Museum fur Gestaltung, Zurich, Switzer-
land
Creative Quarters: The Art World in London 1700–
2000 ; Museum of London, London, United KingdomSelected works
Milk Bottle, 1949–1951
Prints Inventive, 1949–1951
Photographs of Bethnal Green, 1949–1952
Self Portrait, 1953
Head of a Man, 1956
Lovely Linda, series c. 1977
Willy Call-Up, 1979Further Reading
Haworth-Booth, Mark. ‘‘Nigel Henderson: A Reputation
Reassessed.’’Creative Camerano. 3 (April–May 1990).
Henderson, Nigel.Nigel Henderson: Photographs of Bethnal
Green 1949–1952. Nottingham: Midland Group, 1978.
Hoffman, David, and Shirley Read. ‘‘Nigel Henderson.’’
Cameraworkno. 11, (September 1978).
Roberts, John. ‘‘Nigel Henderson at the Serpentine.’’Studio
International196, no. 1000 (July 1983).
Walsh, Victoria.Nigel Henderson: Parallel of Life and Art.
London: Thames & Hudson, 2001.
Whitford, Frank.Nigel Henderson: Photographs, Collages,
Paintings. Cambridge: Kettle’s Yard Gallery, 1977.FLORENCE HENRI
Swiss
Born in New York City on June 28, 1893, Florence
Montague Henri was the eldest child of a French
father, Jean Marie Franc ̧ois Henri, and a German
mother, Anne Marie Schindler. When her mother
died two years later, Florence’s father, a director of an
oil company whose position required extensive travel,
left the children in the care of relatives. Her sister Rene ́
stayed with an aunt in London while Florence went to
live with her mother’s family in Silesia, then part of
Germany, where she remained until the age of nine.
By 1902, Henri was living in Paris in a boarding
school run by nuns, where she began taking piano
lessons. In 1905, she moved to London and lived
there with her aunt and in Sandown on the Isle of
Wight, at the time a thriving center and gathering
place for musicians. In London, she studied at the
Earl’s Court Road Conservatory under Percy Grain-
ger. When her father died in 1907, leaving her with a
modest but comfortable inheritance, Henri moved to
Rome to live with her father’s other sister, Anny
Gori. Through her family associations, Henri be-
came acquainted with Filippo Marinetti and several
other leading avant-garde figures of the Futurist
artistic and literary movement. In Rome, she con-
tinued her music studies at the Conservatory of the
Santa Cecilia Academy, where Henri met Ferruccio
Busoni, who became her mentor.
In 1909, Henri returned to England, living for two
years in a boarding school run by the Sisters of Mary
in Richmond. She continued taking piano lessonsHENDERSON, NIGEL