מקור השם הנריקיס

Marie Henriques (1866-1944), painter, born in Klampenborg, Denmark. She began her artistic education by taking private lessons with the Danish painter Frants Henningsen (1850-1908) for three winters. In 1888, her father sponsored a six-month stay in Paris, where she received instruction from a number of painters. Upon her return to Denmark, she enrolled in the newly established Academy of Fine Arts' Art School for Women in its first year.

Initially, Marie Henriques painted in a naturalistic style, but her time in Paris strongly influenced her towards Impressionism. During her stay in Skagen, Denmark’s northernmost town, she found inspiration in the work of Anna Ancher. Henriques gained recognition for her series of watercolors and color lithographs, which were based on architecture and polychrome archaic sculptures from her extensive studies in Greece. In 1911, at the request of the Greek Ministry of Culture, she painted a series of water colors for an archaeological exhibition in Rome. Her works were acquired by museums in Kassel, Vienna, and Copenhagen, including the Department of Archeology and Ethnology at the University of Copenhagen and the Cast Collection. She also colored several casts of archaic Greek sculptures according to the original preserved painting in 1913.

In addition to her artistic achievements, Marie Henriques was actively involved in various organizations. She co-founded the Society of Women Artists in 1916 and served on its board until 1935. She was also a member of the Academy Council from 1932 to 1934 and a board member of the Art Association from 1935 to 1937. Furthermore, she was a member of the Ny Carlsberg Museumslegat and represented the Academy in the Henriette Melchior Foundation.

In 1918, Henriques, along with Anne Marie Carl-Nielsen and other representatives of artists' organizations, initiated the establishment of the Artists' State-supported Croquis School, which aimed to promote art education. However, in her later years, Henriques suffered from mild dementia, and during the persecution of Jews in German occupied Denmark in 1943, her family chose to hide her at the Montebello recreation home in Helsingør, where she passed away in 1944.

During her career she showed her works in over 20 exhibitions.

Esther Gehlin (born Esther Henriques) (1892-1949), painter, born in Copenhagen, Denmark. She spent her early years in Copenhagen and began her artistic education at Det Tekniske Selskabs skole at the age of 16 in 1908. She furthered her studies at the Academy of Fine Arts in Copenhagen from 1911 to 1915. During and after her studies, her artworks were featured in exhibitions such as Kunstnerernes efteraarsudstilling in Copenhagen, and later in Malmö and Helsingborg after she moved to Sweden.

In 1917, she married Hugo Gehlin, a Swedish artist who had been living in Copenhagen since 1915. Together, they traveled to Italy for a year-long study and work trip after WW I, visiting Ravenna, Assisi and other places. In 1922, Esther Gehlin and Hugo Gehlin settled in Helsingborg, Sweden.

Gehlin was known for her work in textile art and painting, utilizing mediums such as watercolor and oil. Her subjects included still lifes, landscape motifs inspired by the dramatic topography of Helsingborg, and portraits of individuals within the Gehlin family's circle of friends and other cultural practitioners in Helsingborg. She also created embroideries and applications with biblical motifs as a textile artist. One of her smaller applications, originally made for Gustav Adolf's parish home, has been displayed in the Gustav Adolf church in Helsingborg since 2016.

Esther Gehlin and Hugo Gehlin played a significant role in the development of Helsingborg's modern art scene, with their villa on S:t Clemensgatan becoming a hub for artists, publicists, and other cultural figures in the city for many years.

Her works are part of the collections of Nationalmuseum and Moderna Museet, both in Stockholm, and of other museums in Malmo and Helsingborg.

Isabella Henríquez (also known as Isabella Enríquez) (? – 1680/1683), poet, born in the Iberian Peninsula into a crypto-Jewish family. She seems to have been a prominent figure in the literary circles of Madrid during the early 17th century. She enjoyed a significant prestige, and she likely had connections with influential individuals, among them the Jewish-Portuguese poet Isaac Cardoso, who dedicated his work Panegyrico y excelencias del color verde to her, and Miguel de Silveira, another poet belonging to a group of Portuguese conversos at the Spanish court during the reign of King Philip III and his successor, Philip IV. However, around 1636, Isabella felt compelled to leave Spain due to mounting pressure from the Inquisition. She sought refuge in Amsterdam, where she openly embraced Judaism. In Amsterdam, Isabella became an active member of the literary circles within the Spanish and Portuguese Jewish community. Notably, she was known for distributing amulets believed to offer protection against physical harm. Among Isabella Henriquez's literary works, only one has survived — a ten-line Spanish poem known as a décima. This poem, found in her manuscript Obras Poeticas, was dedicated to Rabbi Isaac Aboab. Its inspiration came from an unusually large egg discovered in his home, prompting Isabella to compose this piece in 1636.

During her time in Amsterdam, Isabella Henriquez crossed paths with Miguel de Barrios, a fellow poet who held her in high regard. Barrios dedicated two poems to her and included her in his work Relación de los poetas, where he quoted one of her décimas. Similar to Isabella Correa, another Portuguese poet, Isabella Henriquez was a member of the Academia de los Sitibundos. Henriquez died in Amsterdam between 1680 and 1683.