A striking heliogravure by Germaine Krull, presenting a close-up portrait in which a pair of expressive, deeply lined hands press against and partly obscure the sitter's face. The image reflects a fascination that ran throughout Krull's portraiture — she once described hands as "the most amazing part of a human being," and used them repeatedly as a compositional and psychological device, most famously in her 1930 portrait of illustrator Pol Rab and her claustrophobic 1929 portrait of Jean Cocteau. Working with a small-format Icarette camera, Krull favored intimate, close, often disorienting framing that pushed her sitters' bodies to the edge of the photographic frame, and this portrait — hands tangled before an obscured, downturned face — sits firmly within that tradition of psychologically charged, formally daring portraiture.

Presented in a gilt-toned frame with a wide off-white mat. In excellent vintage condition, consistent with age.

About the Artist:

Germaine Krull (1897–1985) was one of the most significant and restless photographers of the early 20th century, whose peripatetic life took her from Germany and Russia to Paris, Brazil, Africa, Southeast Asia, and finally India. Trained at the Lehr- und Versuchsanstalt für Photographie in Munich, she opened her first portrait studio there in 1917 and contributed to an early heliogravure portfolio of nude studies the following year. She settled in Paris in the mid-1920s, where she became a central figure of the avant-garde, moving in circles that included Jean Cocteau, Colette, Sonia Delaunay, and Man Ray, who once wrote to her: "Germaine, you and I are the greatest photographers of our time, I in the old sense you in the modern one." Her 1928 portfolio Métal — a suite of dramatically angled industrial photographs — remains one of the defining works of modernist photography. Krull's practice ranged across nudes, portraiture, photojournalism, and photomontage, marked throughout by an appetite for bold cropping, unusual angles, and psychological intensity. Later in life she worked as a war correspondent, ran a hotel in Bangkok for two decades, and became a practitioner of Tibetan Buddhism in India. Her work is held in the permanent collections of the Museum of Modern Art, the Centre Pompidou, and the Museum Folkwang, Essen, which holds her estate.