TM 2016: Expanded Painting

Tate Modern (London, UK) from 11 Jan 2016 until 08 Jul 2019.

Kazuo Shiraga
(1924-2008)

Kazuo Shiraga, Tenkosei Kaosho, 1962

X67329
Tenkosei Kaosho

1962
painting
Oil on canvas
support: 1820 x 2730 mm
The George Economou Collection
Provenance:
The Artist;
From whom acquired by Private Collection, 1962;
By whom sold at Christie’s, Paris, 28 May 2008, lot 16;
From which sale acquired by Private Collection, Paris, 2008;
From whom acquired by Dominique Levy Galley, New York, 2015;
From whom acquired by The George Economou Collection, 2015, current owner.

Nationality of artist: Japanese
Identifying marks: Signed and dated bottom left
Place of Manufacture: Not Recorded

Rachel Whiteread

Tate Britain (London, UK) from 12 Sep 2017 until 21 Jan 2018.

Rachel Whiteread
(born 1963, born: London)

Rachel Whiteread, Untitled (Amber Bed), 1991

X57343
Untitled (Amber Bed)

1991
sculpture
Rubber
object: 510 x 360 x 400 mm
Carré d’art, Musée d’art contemporain de Nimes
Provenance:
Carée d’art, Musee d’art Contemporain de Nimes.
Acquired 1992 from Karsten Schubert, London; the artist.
This work was made after the operative period 1933-45.
Lender: Carée d’art, Musee d’art Contemporain de Nimes.
Place de la aison Carée 30000, Nimes, France
Nationality of artist: British
Identifying marks: none
Place of Manufacture: London, England

Rachel Whiteread, Untitled (Black Bed), 1991

X62310
Untitled (Black Bed)

1991
sculpture
Urethane
unconfirmed: 300 x 2130 x 1370 mm
Courtesy the artist, Luhring Augustine, New York and Gagosian Gallery
Provenance:
Luhring Augustine, New York and Gagosian Gallery.
Acquired 2005 from Christie’s, New York; Weltkunst Collection, Zurich on long term loan to Irish Museum of Modern Art, Dublin 1993-2005; Karsten Schubert, London; Anthony d’Offay Gallery, London; the artist.
This work was made after the operative period 1933-45.
Lender: Luhring Augustine
531 West 24th Dtreet, New york, NY 10011, USA
Nationality of artist: British
Identifying marks: none
Place of Manufacture: London, England

Rachel Whiteread, Untitled floor (Thirty-Six), 2002

X62314
Untitled floor (Thirty-Six)

2002
sculpture
Aluminium
unconfirmed, each: 27.5 x 4070 x 4070 mm
Courtesy the artist and Luhring Augustine, New York
Provenance:
Courtesy of the artist and Luhring Augustine, New York.
The artist
Nationality of artist: British
Identifying marks: none
Place of Manufacture: London, England

Rachel Whiteread, IN OUT - II, 2004

X62315
IN OUT - II

2004
sculpture
Plasticized plaster with interior aluminium framework
unconfirmed: 2010 x 800 x 90 mm
Courtesy of the artist, Luhring Augustine, New York and Gagosian Gallery
Provenance:
Courtesy of the artist, Luhring Augustine, New York and Gagosian Gallery.
Acquired 2007 Sotheby’s; acquired 2005 from Luhring Augustine, New York; the artist
Nationality of artist: British
Identifying marks: none
Place of Manufacture: London, England

Rachel Whiteread, CONTENTS, 2005

X57518
CONTENTS

2005
sculpture
Plaster
Dimensions variable
San Francisco Museum of Modern Art. Purchase, by exchange, through gifts of Harriet Lane Levy, Lily Lawlor, Albert M. Bender, Maureine Church Coburn, Mrs. Winifred Yelland Phelps, Mr. and Mrs. Forrest Engelhart, Mrs. Charles de Young Elkus, R.E. Lewis, Miss Bess Replogle, Dr. and Mrs. Leon Kolb, Andre Kahn-Wolf, Mrs. Walter de Camp, the Carnegie Corporation, and anonymous donors.
Provenance:
San Francisco Museum of Modern Art
SFMOMA purchased the work from the artist through Gagosian Gallery, New York, in 2006
Nationality of artist: British
Identifying marks: none
Place of Manufacture: London, England

Rachel Whiteread, SCATTER, 2008

X64275
SCATTER

2008
sculpture
Plaster, pigment, resin, mild steel, wood and metal (16 units, 1 shelf)
unconfirmed: 285 x 600 x 250 mm
Courtesy of the artist and Luhring Augustine, New York
Provenance:
Courtesy of the artist and Luhring Augustine, New York.
The artist
Nationality of artist: British
Identifying marks: none
Place of Manufacture: London, England

Ilya and Emilia Kabakov: Not Everyone Will Be Taken Into the Future

Tate Modern (London, UK) from 18 Oct 2017 until 28 Jan 2018.

Ilya Kabakov
(born 1933, born: Dnepropetrovsk, active: Moscow, New York, Paris)

Ilya Kabakov, Monument, 1961

X65359
Monument

1961
on paper, unique
Graphite and coloured pencil on paper
support: 110 x 123 mm
State Tretyakov Gallery, Moscow
Provenance:
The artist;
State Tretyakov Gallery, Moscow.


Place of Manufacture: Moscow.
Identifying marks: Signed and dated bottom right.

This work was made after the operative period 1933-45.

Ilya Kabakov, Human: Mind, Soul, Body, 1961

X65363
Human: Mind, Soul, Body

1961
on paper, unique
Graphite and coloured pencil on paper
support: 395 x 285 mm
State Tretyakov Gallery, Moscow
Provenance:
The artist;
State Tretyakov Gallery, Moscow.

Place of Manufacture: Moscow.
Identifying marks: Signed bottom right.

This work was made after the operative period 1933-45.

Ilya Kabakov, The Bush, 1961

X66057
The Bush

1961
painting
Oil paint on canvas
support: 510 x 700 mm
Private collection, Switzerland
Provenance:
The artist;
Viktoria Mochalova, Moscow;
Private collection, Switzerland.


Place of Manufacture: Moscow
Identifying marks: Signed and dated on reverse
Paintings catalogue raisonné number: 6


This work was made after the operative period 1933-45.

Ilya Kabakov, Cubes, 1962

X65292
Cubes

1962
sculpture
Oil paint and enamel on wood
object: 936 x 414 x 175 mm
Collection Zimmerli Art Museum at Rutgers University, Museum Purchase, Purchased with funds donated by Norton Dodge and Nancy Dodge
Provenance:
The artist;
Viktoria Mochalova, Moscow;
Private collection, New York;
Zimmerli Art Museum at Rutgers University.


Place of Manufacture: Moscow
Identifying marks: Signed and dated on reverse
Paintings catalogue raisonné number: 10

This work was made after the operative period 1933-45.

Ilya Kabakov, Abstract Drawing, 1962

X65360
Abstract Drawing

1962
on paper, unique
Graphite and coloured pencil on paper
support: 149 x 204 mm
State Tretyakov Gallery, Moscow
Provenance:
The artist;
State Tretyakov Gallery, Moscow.

Place of Manufacture: Moscow.
Identifying marks: Signed and dated bottom right.

This work was made after the operative period 1933-45.

Ilya Kabakov, Abstract Composition, 1964

X65361
Abstract Composition

1964
on paper, unique
Graphite and coloured pencil on paper
support: 123 x 140 mm
State Tretyakov Gallery, Moscow
Provenance:
The artist;
State Tretyakov Gallery, Moscow.

Place of Manufacture: Moscow.
Identifying marks: Signed bottom right.

This work was made after the operative period 1933-45.

Ilya Kabakov, The Queen Fly, 1965

X66327
The Queen Fly

1965
painting
Oil paint and enamel on Masonite and wood
object: 485 x 600 x 60 mm
Private collection, Switzerland
Provenance:
The artist;
Private collection, Switzerland.

Place of Manufacture: Moscow
Identifying marks: Signed and dated on reverse
Paintings catalogue raisonné number: 20

This work was made after the operative period 1933-45.

Ilya Kabakov, Space, 1969

X65362
Space

1969
on paper, unique
Ink and coloured pencil on paper
support: 226 x 297 mm
State Tretyakov Gallery, Moscow
Provenance:
The artist;
State Tretyakov Gallery, Moscow.

Place of Manufacture: Moscow.
Identifying marks: Signed bottom right.

This work was made after the operative period 1933-45.

Ilya Kabakov, This is the Sky, This is a Lake, This is the Sea, 1970

X66328
This is the Sky, This is a Lake, This is the Sea

1970
painting
Oil paint and enamel on Masonite
support: 1250 x 1970 mm
Private collection, Switzerland
Provenance:
The artist;
Private collection, Switzerland.

Place of Manufacture: Moscow
Identifying marks: Signed and dated on reverse
Paintings catalogue raisonné number: 38

This work was made after the operative period 1933-45.

Ilya Kabakov, Untitled, 1974

X65364
Untitled

1974
on paper, unique
Ink and coloured pencil on paper
support: 210 x 295 mm
State Tretyakov Gallery, Moscow
Provenance:
The artist;
State Tretyakov Gallery, Moscow.

Place of Manufacture: Moscow.
Identifying marks: Signed and dated bottom right.

This work was made after the operative period 1933-45.

Ilya Kabakov, Tested!, 1981

X65240
Tested!

1981
painting
Oil paint and enamel on Masonite
overall: 2600 x 3800 mm N.B. two panels
Ludwig Forum für Internationale Kunst, Aachen
Provenance:
The artist;
Collection Peter Ludwig;
Ludwig Forum für internationale Kunst, Aachen.

Place of Manufacture: Moscow
Identifying marks: Signed and dated on reverse.
Paintings catalogue raisonné number: 62

This work was made after the operative period 1933-45.

Ilya Kabakov, The Boy, 2000

X66824
The Boy

2000
sculpture
Oil paint, enamel and textile on plywood
object: 1860 x 1600 x 120 mm
Private Collection, Moscow / Courtesy Regina Gallery, Moscow
Provenance:
The artist;
Private collection, Moscow.


Place of Manufacture: New York
Identifying marks: Signed and dated on reverse

This work was made after the operative period 1933-45.

Ilya Kabakov
(born 1933, born: Dnepropetrovsk, active: Moscow, New York, Paris)
Emilia Kabakov
(born 1945, born: Dnepropetrovsk)

Ilya Kabakov and Emilia Kabakov, Incident in the Corridor Near the Kitchen, 1989

X66825
Incident in the Corridor Near the Kitchen

1989
installation
Mixed media installation

Melissa Schiff Soros and Private Collection
Provenance:
The artist;
(Galerie de France, Paris);
Collection John L. Stewart;
Private collection, New York.


Place of Manufacture: New York
Identifying marks: paintings in the installation signed and dated on reverse
Installations catalogue raisonné: 27

This work was made after the operative period 1933-45.

Ilya Kabakov and Emilia Kabakov, Not Everyone Will Be Taken Into the Future, 2001

X62900
Not Everyone Will Be Taken Into the Future

2001
installation
Wooden construction, railway car fragment, running-text display and paintings
Overall display dimensions variable object: 2030 x 1515 x 40 mm object: 2060 x 1540 x 40 mm object: 2050 x 1540 x 40 mm object: 1525 x 1120 x 50 mm object: 1525 x 1120 x 50 mm object: 1920 x 1300 x 40 mm object: 2520 x 1600 x 35 mm object: 1780 x 1610 x 30 mm object: 2060 x 1540 x 40 mm
MAK – Austrian Museum of Applied Art / Contemporary Art. LHG 1948 / 2001 – permanent loan Geyer & Geyer Collection, Vienna
Provenance:
The artists;
MAK – Austrian Museum of Applied Art / Contemporary Art. LHG 1948 / 2001 – permanent loan Geyer & Geyer Collection, Vienna.


Place of Manufacture (paintings): New York
Identifying marks: Paintings signed and dated on reverse

This work was made after the operative period 1933-45.

Ilya Kabakov and Emilia Kabakov, Two Observers # 2 Diptych (Right part of diptych), 2014

X66822
Two Observers # 2 Diptych (Right part of diptych)

2014
painting
Oil paint on canvas
support: 2680 x 1680 mm
Olga Filatov's collection
Provenance:
The artist;
Olga Filatov's collection.

Place of Manufacture: New York
Identifying marks: Signed and dated on reverse
Paintings catalogue raisonné number: 782

This work was made after the operative period 1933-45.

Impressionists in London: French Artists in Exile, 1870-1904

Tate Britain (London, UK) from 02 Nov 2017 until 07 May 2018.

Jean-Baptiste Carpeaux
(1827-1875)

Jean-Baptiste Carpeaux, Flora, 1873

X61788
Flora

1873
sculpture
marble
unconfirmed: 970 x 650 x 600 mm
Museu Calouste Gulbenkian - Founders Collection, Lisbon
Provenance:
Collection of Henry James Turner, who commissioned the work from the artist; collection of E. Cronier (no. 121, Cronier sale, Paris); acquired by the present owner 4 December 1905.
Lender’s address: Museu Calouste Gulbenkian, Av. De Berna 45A, Lisbon, Portugal.
Nationality of artist: French
Identifying marks:
Place of Manufacture: London, United Kingdom
Catalogue Raisonné: Maria Rosa Figueiredo – Catálogo de Escultura Europeia. Vol. I, Escultura Francesa, Lisboa, Fundação Calouste Gulbenkian, 1992, pp. 154-159
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

André Derain
(1880-1954, born: Chatou, died: Garches)

André Derain, Charing Cross Bridge, London, 1906-1907

X63870
Charing Cross Bridge, London

1906-1907
painting
Oil paint on canvas
support: 803 x 1003 mm frame: 1067 x 1257 mm
National Gallery of Art, Washington, John Hay Whitney Collection, 1982.76.3
Provenance:
From the artist in 1906; Ambroise Vollard, Paris; sold December 1918 through Walter Pach and Carroll Galleries, New York to John Quinn, New York; his estate; probably from which purchased by Paul Guillaume, Paris; sold 1927 to Alex Reid & Lefèvre, Glasgow and London; sold 1931 to Galerie Etienne Bignou, Paris; sold 1932 to G. Keller, Paris for M. Knoedler and Co., London, New York and Paris; acquired in Paris between 1932 and 1938 by Mme. Kaethe Perls, Paris; possibly by whom sold to Walter P. Chrysler, Jr., New York, Warrenton and Richmond, VA, who owned the painting by 1939; Chrysler sale, part II, Parke-Bernet Galleries, New York, 16 February 1950, no. 54; Julius H. Weitzner, London; sold 12 April 1950 to John Hay Whitney, Manhasset, New York; deeded 1982 to the John Hay Whitney Charitable Trust, New York; gift 1982 to National Gallery of Art, Washington.
Lender’s address: National Gallery of Art, 6th & Constitution Ave NW, Washington, DC 20565, USA
Nationality of artist: French
Identifying marks: signed lower left: a derain
Place of Manufacture: London, United Kingdom and/or Paris, France
Catalogue Raisonné: Kellermann, Michel. André Derain, Catalogue raisonné de l’oeuvre peint. Vol. 1, 1895-1914. Paris, 1992. No. 88, 56, reproduced as Londres: Le Pont de Hungerford a Charing-Cross
Exhibition History:
Possibly La Libre Esthétique, quatorzième exhibition, Brussels, 1907, no. 87-90, one of four views of London; La Toison d'or, Tretyakov Gallery, Moscow, 1908, no. 35-38, one of four view of London; Cent Ans de Peinture Française, Musée Municipal d'Amsterdam, 1928, no. 7, repro.; Exhibition of Works by André Derain, The Lefevre Galleries, London, 1928, no. 2; Derain, M. Knoedler & Company, New York and Chicago, 1930, no. 4 (CHicago) and no. 6 (New York); An Exhibition of Paintings by André Derain, Cincinnati Art Museum, 1930-1931, no. 18, repro.; Paintings from the Ambroise Vollard Collection, Knoedler Galleries, New York, 1933, no. 20, as London: Houses of Parliament; Seven Centuries of Painting, The California Palace of the Legion of Honor and the M.H. de Young Memorial Museum, San Francisco, 1939-1940, no. Y-177; Origins of Modern Art, The Arts Club of Chicago, 1940, no. 17; Collection of Walter P. Chrysler, The Virginia Museum of Fine Arts, Richmond; The Philadelphia Museum of Art, 1941, no. 45; Selections from Five New York Private Collections, Museum of Modern Art, New York, 1951, unnumbered catalogue.; Les Fauves, Museum of Modern Art, New York; Minneapolis Institute of Arts; San Francisco Museum of Art; The Art Gallery of Toronto, 1952-1953, no. 33.; Pictures Collected by Yale Alumni, Yale University Art Gallery, New Haven, 1956, no. 128, repro.; The John Hay Whitney Collection, The Tate Gallery, London, 1960-1961, no. 20, repro.; The Impressionists in London, Hayward Gallery, London, 1973, no. 55, repro.; The "Wild Beasts": Fauvism and Its Affinities, The Museum of Modern Art, New York; San Francisco Museum of Modern Art; Kimbell Art Museum, Fort Worth, 1976, no. 80, repro.; Aspects of Twentieth-Century Art, National Gallery of Art, Washington, D.C., 1978-1979, no. 39, repro.; The Long Island Collections. A Century of Art: 1880-1980. Nassau County Museum of Art, Roslyn, New York, 1982, p. 35, repro.; The John Hay Whitney Collection, National Gallery of Art, Washington, D.C., 1983, no. 43, repro.; Impressionist and Post-Impressionist Masterpieces from the National Gallery of Art, Washington, State Hermitage Museum, Leningrad; State Pushkin Museum of Fine Arts, Moscow, 1986, no. 10, repro.; André Derain: Le peintre du "trouble modern", Musée d'Art Moderne de la Ville de Paris, Paris, 1994-1995, no. 45, repro.; Fauves, Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne, 1995-1996, no. 28, repro.; André Derain, 1904-1912, Museu Picasso, Barcelona, 1997, no. 18, repro.; Gifts to the Nation from Mr. and Mrs. John Hay Whitney, National Gallery of Art, Washington, D.C., 1998-1999, no cat.; Le Fauvisme ou "l'épreuve du feu": Éruption de la modernité en Europe, Musée d'Art moderne de la Ville de Paris, 1999-2000, no. 43, repro.; Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 76, repro.; Fauve Painting from the Permanent Collection, National Gallery of Art, Washington, D.C., 2004-2005, no cat.; André Derain: The London Paintings, The Courtauld Institute Gallery, Courtauld Institute of Art, London, 2005-2006, no. 8, repro., as Hungerford Bridge at Charing Cross.; Cezanne to Picasso: Ambroise Vollard, Patron of the Avant Garde, The Metropolitan Museum of Art, New York; The Art Institute of Chicago; Musée d'Orsay, Paris, 2006-2007, no. 76, repro.
This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. 

Sir John Everett Millais, Bt
(1829-1896, born: Southampton, died: London)

Sir John Everett Millais, Bt, A Huguenot, on St Bartholomew's Day, refusing to shield himself from danger by wearing the Roman Catholic badge, 1851-52

X61780
A Huguenot, on St Bartholomew's Day, refusing to shield himself from danger by wearing the Roman Catholic badge

1851-52
painting
oil on canvas
unconfirmed: 927 x 622 mm
The Makins Collection
Provenance:
Bought from the artist by the art dealer D.T. White; Benjamin Godfrey WIndus of Tottenham, by whom sold to Thomas Miller of 5 Winckley Square, Preston c.1860, and thence by descent to his son Thomas Pitt Miller of Thistleton Lodge, Preston, until his death in 1893; Christie’s, 26 April 1946, no. 88, where bought by Agnew; Thomas Agnew and Sons, London; Mr George Huntington Hartford of New York, his sale, Christie’s, 14 July 1972, lot 80, where bought by Agnew; Thomas Agnew and Sons, London, where purchased by the family of the present owner.
Lender’s address: private collection c/o Caroline Corbeau-Parsons, Tate Britain Curatorial Department, Tate Britain, Millbank, London SW1P 4RG
Nationality of the artist: British
Identifying marks: signed and dated in monogram lower left
Place of manufacture: London, United Kingdom
Catalogue Raisonné:
Exhibition History:
Royal Academy, London, 1852, no. 478; Liverpool Academy, 1852, no. 49; The Works of Sir John Everett Millais, Bart, R.A., Grosvenor Gallery, London, 1886, no. 6; Loan of Exhibition Pictures, Guildhall, London, 1892, no. 168; Loan of Exhibition Pictures, London, Guildhall, 1897, no. 133; Works of the Late Sir John Everett Millais, Bart., President of the Royal Academy, Royal Academy, London, winter 1898, no. 61; Franco-British Exhibition, Shepherd’s Bush, London, 1908, no. 101; D. G. Rossetti and his Circle, Kansas University, 1958; The Pre-Raphaelites, Indianapolis and New York, 1964, no. 49; Millais, Royal Academy, London and Walker Art Gallery, Liverpool, 1967, no. 36; The Pre-Raphaelites, Tate Gallery, London, 1984, no. 41; The Victorians: British Painting 1937-1901, National Gallery of Art, Washington and Berlin, 1997-1998; Guest of Honor painting, Kimball Art Museum, Fort Worth, 2005; Millais, Tate Britain, London and Van Gogh Museum, Amsterdam, 2007-2008; The Pre-Raphaelite Lens, National Gallery of Art Washington and Musee d’Orsay, Paris, 2010-2011; Pre-Raphaelites: Victorian Avante-Garde, Tate Britain, London, National Gallery of Art, Washington, and Pushkin State Museum of Fine Arts, Moscow, 2012-2013
This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. 

Claude Monet
(1840-1926, born: Paris, died: Giverny)

Claude Monet, Houses of Parliament, c.1900-01

X60656
Houses of Parliament

c.1900-01
painting
Oil paint on canvas
support: 812 x 928 mm
The Art Institute of Chicago, Mr. and Mrs. Martin A. Ryerson Collection, 1933.1164
Provenance:
Sold by [unknown] to Rosenberg, Paris, by 10 October, 1916; sold by Rosenberg, Paris, to Durand-Ruel, Paris, 10 October 1916, for 22,500 francs; sold by Durand-Ruel, Paris, to Durand-Ruel, New York, 6 November or 4 December 1916; sold by Durand-Ruel, New Tork, to Martin A. Ryerson, Chicago, 18 December 1916, for $10,000; bequeathed by Martin A. Ryerson (died 1932), Chicago, to the Art Institute of Chicago, 1933.
Lender’s address: The Art Institute of Chicago, 111 S Michigan Ave, Chicago, IL 60603, USA
Nationality of the artist: French
Identifying marks: inscribed lower right: Claude Monet
Place of manufacture: London, United Kingdom, and/or Giverny, France.
Catalogue Raisonné: Daniel Wildenstein. Monet. Vol. 4, Catalogue raisonné–Werkverzeichnis: Nos. 1596–1983 et les grandes décorations. 2nd ed. Cologne, 1996, p. 708, no. 1600, ill. (colour).
Exhibition history:
Paintings loaned to the Art Institute of Chicago by A. Ryerson, Chicago, 1925, no. 2147; San Francisco, California Palace of the Legion of Honor and the M. H. de Young Memorial Museum, Seven Centuries of Painting: A Loan Exhibition of Old and Modern Masters, Dec. 29, 1939–Jan. 28, 1940, cat. L-132 (ill.); University of Chicago, Lexington Hall, Nov. 28–Dec. 19, 1951, no cat.; Chicago, Remington Rand, window display, Apr. 14–30, 1952, no cat.; Wichita (Kans.) Art Museum, Three Centuries of French Painting, May 9–23, 1954, cat. 18; Park Forest (Ill.) Art Center, Mar. 25–Apr. 22, 1956, no cat.; Art Institute of Chicago, The Paintings of Claude Monet, Apr. 1–June 15, 1957, no cat. no.; Iowa City, University of Iowa Gallery of Art, Impressionism and Its Roots, Nov. 8–Dec. 6, 1964, cat. 37 (ill.).; London, Hayward Gallery, The Impressionists in London, Jan. 3–Mar. 11, 1973, cat. 28 (ill.).; Art Institute of Chicago, Paintings by Monet, Mar. 15–May 11, 1975, cat. 106 (ill.).; Shelburne (Vt.) Museum, June 7, 1984–Jan. 29, 1985, no cat.; Auckland City Art Gallery, Claude Monet: Painter of Light, Apr. 29–June 9, 1985, cat. 33 (ill.); Sydney, Art Gallery of New South Wales, June 21–Aug. 4, 1985; Melbourne, National Gallery of Victoria, Aug. 14–Sept. 29, 1985.; Atlanta, High Museum of Art, Monet in London, Oct. 9, 1988–Jan. 8, 1989, cat. 20 (ill.).; Art Institute of Chicago, Claude Monet, 1840–1926, July 22–Nov. 26, 1995, cat. 117 (ill.).; Fort Worth, Tex., Kimbell Art Museum, The Impressionists: Master Paintings from the Art Institute of Chicago, June 29–Nov. 2, 2008, cat. 88 (ill.).
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Claude Monet, Houses of Parliament (Effect of Fog), 1903-1904

X61082
Houses of Parliament (Effect of Fog)

1903-1904
painting
Oil paint on canvas
support: 813 x 924 mm
The Metropolitan Museum of Art, New York. Bequest of Julia W. Emmons, 1956
Provenance:
From the artist; Bernheim-Jeune, Paris, 1909-1911; sold to Durand-Ruel, 24 March 1911; Durand-Ruel, Paris (stock number 9549); sold on 11 April 1911 to Durand-Ruel, New York; Durand-Ruel, New York, 1911 (stock number 3438); Sold to Arthur B. Emmons 24 May 1911; Arthur B. Emmons, New York and Newport, 1911-d.1922; his widow, Julia W. Emmons, New York and Newport (1922-d.1956); Bequeathed to the Metropolitan Museum of Art, New York, by Julia W. Emmons, 1956.
Lender’s address: The Metropolitan Museum of Art, 1000 5th Ave, New York, NY 10028, USA
Nationality of artist: French
Identifying marks: Signed and dated lower left: Claude Monet 1903
Place of Manufacture: London, United Kingdom, and/or Giverny, France.
Catalogue Raisonné: Daniel Wildenstein. Monet. Vol. 4, Catalogue raisonné–Werkverzeichnis: Nos. 1596–1983 et les grandes décorations. 2nd ed. Cologne, 1996, pp. 716–17, no. 1609, ill. (colour).
Exhibition History:
Paris. Durand-Ruel, Vues de la Tamise a Londres (1902–1904), May 9–June 4, 1904, no. 32 (as Effet de brouillard 1904 [under the general heading Le Parlement).; St. Louis. Noonan-Kocian Gallery. 1911, no catalogue? see Wildenstein 1985; Milwaukee Art Center, Man's Concept of Outer Space, October 1, 1958–February 15, 1959, no catalogue.; Phoenix Art Museum, The Metropolitan Museum of Art Loan Collection: The River and the Sea, February 15, 1967–February 15, 1968, no. 14.; Holyoke, Mass. Holyoke Museum of Natural History and Art, Claude Monet, April–May 1968, no catalogue.; London. Hayward Gallery, The Impressionists in London, January 3–March 11, 1973, no. 25.; Naples. Museo di Capodimonte, Capolavori Impressionisti dei Musei Americani, December 3, 1986–February 1, 1987, no. 33.; Milan. Pinacoteca di Brera, Capolavori Impressionisti dei Musei Americani, March 4–May 10, 1987, no. 33.; Fort Lauderdale. Museum of Art, Corot to Cézanne: 19th Century French Paintings from The Metropolitan Museum of Art, December 22, 1992–April 11, 1993, no catalogue.; Vienna. Osterreichische Galerie. Claude Monet, March 14–June 16, 1996, no. 76.; New York. The Metropolitan Museum of Art. Painters in Paris: 1895–1950, March 8–December 31, 2000, unnumbered cat. (as "The Houses of Parliament Seen in Fog").; Hiroshima Prefectural Art Museum. "Claude Monet: A Hymn to Light," August 3–September 23, 2004, no. 43.; Nara Prefectural Museum of Art. Claude Monet: A Hymn to Light, October 2–December 5, 2004, no. 43.; St. Petersburg, Fla. Museum of Fine Arts, Monet's London: Artists' Reflections on the Thames 1859–1914, January 16–April 24, 2005, no. 36.; Brooklyn Museum. Monet's London: Artists' Reflections on the Thames 1859–1914, May 27–September 4, 2005, no. 36.; Baltimore Museum of Art. Monet's London: Artists' Reflections on the Thames 1859–1914, October 2–December 31, 2005, no. 36.; Museum of Fine Arts, Houston. The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920, February 4–May 6, 2007, no. 93.; Berlin. Neue Nationalgalerie. Franzosische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art," June 1–October 7, 2007, unnumbered cat.
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Claude Monet, Houses of Parliament, Sunset, 1904

X61975
Houses of Parliament, Sunset

1904
painting
oil on canvas
frame: 970 x 1080 x 63 mm support: 810 x 920 mm
Kunstmuseen Krefeld
Provenance:
Purchased from the artist by Durand-Ruel in May 1904 ; sold to the Krefeld Museum in July 1907.
Lenders address: Kaiser Wilhelm Museum, Joseph-Beuys-Platz 1, 47798 Krefeld, Germany
Nationality of the artist: French
Place of manufacture: London, United Kingdom, and/or Giverny, France.
Catalogue Raisonné: Daniel Wildenstein. Monet. Vol. 4, Catalogue raisonné–Werkverzeichnis: Nos. 1596–1983 et les grandes décorations. 2nd ed. Cologne, 1996, pp. 709-710, no. 1602, ill. (colour).
Exhibited:
Monet, Paris, Durand-Ruel, 1904, no. 36; Pictures presented to the city of Dublin to form the nucleus of a Gallery of Modern Art, Dublin, Royal Hibernian Academy, 1904-1905, no. 131; Monet, Weimar, Grossherzogliches Museum, 1905, no. 24; Monet de 1894 a 1906, Paris, Bernheim-Jeune, mars 1906; Art francais modern, Krefeld, Kaiser Wilhelm Museum, 1907, no. 110; Turner Whistler Monet, Art Gallery of Ontario, Toronto, Galeries nationales du Grand Palais, Paris and Tate Britain, London, 2004-2005, no. 81
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Giuseppe De Nittis
(1846-1884)

Giuseppe De Nittis, Piccadilly: Wintry Walk in London, 1875

X07858
Piccadilly: Wintry Walk in London

1875
painting
Oil on canvas
support: 685 x 1040 mm frame: 900 x 1240 mm
Private Collection
Provenance:
Collection of Kaye Knowles, who commissioned the painting from the artist; Peggie Short Guaita, Cadenabbia; sale of the collection of Peggy Short Guaita, Galleria Pesaro, Milan, no. 24, ill. XII; Paolo Ingegnoli, Milan; Sale of the collection of Ingegnoli, Galleria Pesaro, Milan, 1933, no. 144, ill. 36; Gaetano Marzotto, Valdagno; by descent to the present owner.
Lender’s address: private collection c/o Caroline Corbeau-Parsons, Tate Britain Curatorial Department, Tate Britain, Millbank, London SW1P 4RG
Nationality of artist: Italian
Identifying marks: signed lower left: De Nittis 75
Place of Manufacture: London, United Kingdom
Catalogue Raisonné: P. Dini and G. L. Martini, De Nittis, Turin 1990; no. 541
Exhibited: Paris 1878; Naples 1963; Guiseppe de Nittis, Milan and Bari, 1990
This work was produced before the operative period 1933–45. Its provenance during these years appears to be fully documented, and consultation with the relevant sources and experts gives no evidence of wrongful taking. 

Giuseppe De Nittis, Westminster, 1878

X60830
Westminster

1878
painting
Oil paint on canvas
support: 1100 x 1950 mm frame: 1520 x 2340 x 110 mm
Private collection
Provenance:
Collection of Kaye Knowles, London, who commissioned the painting from the artist; Peggie Short Guaita, Cadenabbia; sale of the collection of Peggy Short Guaita, Galleria Pesaro, Milan, no. 33, ill. I; Paolo Ingegnoli, Milan; Sale of the collection of Ingegnoli, Galleria Pesaro, Milan, 1933, no. 143, ill. 35; Gaetano Marzotto, Valdagno; by descent in the Marzotto family; acquired by the present owner in 2006.
Lender’s address: private collection c/o Caroline Corbeau-Parsons, Tate Britain Curatorial Department, Tate Britain, Millbank, London SW1P 4RG
Nationality of artist: Italian
Identifying marks: signed: De Nittis
Place of Manufacture: London, United Kingdom
Catalogue Raisonné: P. Dini and G. L. Martini, De Nittis, Turin 1990; no. 717
Exhibited: Paris 1878; Naples 1963; Guiseppe de Nittis, Milan and Bari, 1990
This work was produced before the operative period 1933–45. Its provenance during these years appears to be fully documented, and consultation with the relevant sources and experts gives no evidence of wrongful taking. 

Camille Pissarro
(1830-1903, born: Charlotte Amalie, died: Paris)

Camille Pissarro, Upper Norwood, Crystal Palace, London, c. 1871

X47144
Upper Norwood, Crystal Palace, London

c. 1871
painting
Oil paint on canvas
support: 400 x 510 mm
Private collection
Provenance:
Inherited by Julie Pissarro, the artist’s wife, in 1904; sold by Julie Pissarro to Bernheim-Jeune, in December 1913; Durand-Ruel, New York, c. 1922; sold by Durand-Ruel to Alex Reid & Lefevre, London, on 14 January 1937; sold by Alex Reid & Lefevre to Etienne Bignou on 17 April 1941; bought from Etienne Bignou on 29 January 1943 by Durand-Ruel, New York, which still owned the work in 1950; Paul Rosenberg, c.1959; purchased by Marlborough Fine Art, London in 1961, and sold to D. Hellings in 1961; bought back from D. Hellings in 1966 by Marlborough Fine Art, and sold the same day to Mr and Mrs Paul Mellon, Upperville (Va.); sold at the Collection of Paul Mellon sale, Christie’s, New York, 15 November 1983, no. 9; purchased by Acquavella Galleries, New York; sold the same day to private collector.
Lender’s address: private collection c/o Caroline Corbeau-Parsons, Tate Britain Curatorial Department, Tate Britain, Millbank, London SW1P 4RG
Nationality of artist: French
Identifying marks: signed lower right: C. Pissarro
Place of Manufacture: London, United Kingdom
Catalogue Raisonné: Joachim Pissarro and Claire Durant-Ruel-Snollaerts, Pissarro: Critical Catalogue of Paintings, 3 vols., Milan and Paris 2005; no. 184
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Camille Pissarro, Charing Cross Bridge, London, 1890

X60818
Charing Cross Bridge, London

1890
painting
Oil paint on canvas
support: 600 x 924 mm
National Gallery of Art, Washington, Collection of Mr. and Mrs. Paul Mellon
Provenance:
Purchased from the artist 18 October 1890 by Boussod, Valadon et Cie., Paris; sold 23 November 1891 to Elkins, New York; sold by 1892 to Durand-Ruel, Paris; Paul Harth, Paris, by 1930; Paul Rosenberg and Co., London, New York and Paris; Galerie Etienne Bignou, Paris and New York, by 1939; Alex Reid & Lefèvre, London; William A. Cargill [d.1962], Carruth, Scotland; his estate sale, Sotheby’s, London, 11 June 1963, no. 34; purchased by Hector Brame, Paris for Mr. Paul Mellon, Upperville, VA; gift 1985 to National Gallery of Art, Washington.
Lender’s address: National Gallery of Art, 6th & Constitution Ave NW, Washington, DC 20565, USA
Nationality of artist: French
Identifying marks: Signed and dated lower left: C. Pissarro. 1890
Place of Manufacture: London, United Kingdom
Catalogue Raisonné: Pissarro, Joachim and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of the Paintings, 3 vols., Milan, Paris and New York, 2005: III: no. 884, reproduced.
Exhibition History:
Centenaire de la naissance de Camille Pissarro, Musée de l'Orangerie, Paris, 1930, no. 78; 19th Century French Paintings, Bignou Gallery, New York, 1940, no. 8; French Paintings from the Collection of Mr. and Mrs. Paul Mellon and Mrs. Mellon Bruce, National Gallery of Art, Washington, 1966, no. 32, repro.; French Paintings from the Collection of Mr. and Mrs. Paul Mellon, Virginia Museum of Fine Arts, Richmond, 1973-1978, unnumbered checklist; Pissarro, Hayward Gallery, London; Grand Palais, Paris; Museum of Fine Arts, Boston, 1980-1981, no. 70, repro.; From El Greco to Cézanne: Masterpieces of European Painting from the National Gallery of Art, Washington, and The Metropolitan Museum of Art, New York, National Gallery of Greece, Athens, 1992-1993, no. 54, repro.; Pointillismus - Auf den Spuren von Georges Seurat [French title: Pointillisme - Sur les traces de Seurat], Wallraf-Richartz-Museum, Cologne; Fondation de l'Hermitage, Lausanne, 1997-1998, no. 108, repro.; Camille Pissarro, Staatsgalerie Stuttgart, 1999-2000, no. 60.; Monet's London: Artists' Reflections on the Thames, 1859-1914, Museum of Fine Arts, St. Petersburg, Florida; Brooklyn Museum; The Baltimore Museum of Art, 2005, no. 38, repro.; Impressionism and Scotland, Royal Scottish Academy Building, Edinburgh, 2008, unnumbered catalogue, pl. 119.
This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. 

Camille Pissarro, Hampton Court Green, London, 1891

X61053
Hampton Court Green, London

1891
painting
Oil paint on canvas
support: 543 x 730 mm frame: 762 x 952 x 95 mm
National Gallery of Art, Washington, Ailsa Mellon Bruce Collection, 1970.17.53
Provenance:
Purchased from the artist 24 February 1892 by Durand-Ruel, Paris; sold 27 February 1911 to Paul Cassirer, Berlin; English private collection; purchased 1951 by Marlborough Fine Art, London; Arthur Tooth & Sons, London; sold 8 May 1952 to Sam Salz, Inc., New York; sold September 1953 to Oscar Howalka; Sam Salz, Inc., New York; sold 9 June 1954 to Ailsa Mellon Bruce, New York; bequest 1970 to National Gallery of Art, Washington.
Lender’s address: National Gallery of Art, 6th & Constitution Ave NW, Washington, DC 20565, USA
Nationality of artist: French
Identifying marks: signed and dated lower left: C. Pissarro. 1891
Place of Manufacture: London, United Kingdom
Catalogue Raisonné: Pissarro, Joachim and Claire Durand-Ruel Snollaerts, Pissarro: Critical Catalogue of the Paintings, 3 vols. Milan, Paris and New York, 2005: ill. No. 887, reproduced
Exhibition History:
Association pour l'Art, Anvers, 1892, no. 3; French Paintings of the Nineteenth Century from the Collection of Mrs. Mellon Bruce, California Palace of the Legion of Honor, San Francisco, 1961, no. 38, repro.; C. Pissarro, Wildenstein & Co., New York, 1965, no. 52, repro.; French Paintings from the Collections of Mr. and Mrs. Paul Mellon and Mrs. Mellon Bruce, National Gallery of Art, Washington, 1966, no. 33, repro.; Loan for display with permanent collection, Munch Museum, Oslo, 1984-1985.; Impressionist and Post-Impressionist Masterpieces from the National Gallery of Art, Washington, State Hermitage Museum, Leningrad; State Pushkin Museum of Fine Arts, Moscow, 1986, no. 23, repro.; Impressionisti della National Gallery of Art di Washington, Ala Napoleonica e Museo Correr, Venice, and Palazzo Reale, Milan, 1989, unnumbered catalogue, repro.; Französische Impressionisten und ihre Wegbereiter aus der National Gallery of Art, Washington und dem Cincinnati Art Museum, Neue Pinakothek, Munich, 1990, no. 42, repro.; From El Greco to Cézanne: Masterpieces of European Painting from the National Gallery of Art, Washington, and The Metroplitan Museum of Art, New York, National Gallery of Greece, Athens, 1992-1993, no. 53, repro.; Camille Pissarro: Impressionist Innovator, The Israel Museum, Jerusalem; The Jewish Museum, New York, 1994-1995, no. 97, repro.; Obras Maestras de la National Gallery of Art de Washington, Museo Nacional de Antropología, Mexico City, 1996-1997, unnumbered catalogue, 152-153, color repro.; Around Impressionism: French Paintings from the National Gallery of Art, Los Angeles County Museum of Art, 1999, no cat.; Camille Pissarro, Staatsgalerie Stuttgart, 1999-2000, no. 61.; Masterpieces from the National Gallery of Art, Washington, Kyoto Municipal Museum of Art; Tokyo Metropolitan Art Museum, 1999, no. 46, repro.; Camille Pissarro, Art Gallery of New South Wales, Sydney; National Gallery of Victoria, Melbourne, 2005-2006, no. 58, repro.
This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. 

Alfred Sisley
(1839-1899, born: Paris, died: Moret-sur-Loing)

Alfred Sisley, The Bridge at Hampton Court, Mitre Inn, 1874

X63286
The Bridge at Hampton Court, Mitre Inn

1874
painting
oil on canvas
unconfirmed: 460 x 610 mm frame: 665 x 825 x 80 mm
Wallraf-Richartz-Museum & Foundation Corboud, Cologne
Provenance:
Théodore Duret, Paris, his sale, Georges Petit, Paris, 19 March 1894, no. 40; private collection, Wuppertal-Elberfeld; collection of Otto Wolff (1881-1940); collection of Frau Frangenheim, Cologne, probably wife of Professor Paul Frangenheim (1876-1930); acquired from the Kunstverein for Rhineland and Westphalia, 1956.
Lender’s address: Wallraf-Richartz-Museum & Foundation Corboud, Obenmarspforten 40, 50667 Cologne, Germany
Nationality of artist: French
Identifying marks: signed lower left: Sisley 74
Place of manufacture: unknown
Catalogue Raisonné: Francois Daulte, Alfred Sisley: Catalogue Raisonné de luvre peint, Lausanne, 1959, no. 123
Exhibition History:
Ausstellung französischer Malerei des 19. Jahrhunderts, Galerie Ernst Arnold, Dresden, 1914, not in catalogue or p. 20, no. 103; Alfred Sisley, Royal Academy of Arts, London, Musee d’Orsay, Paris, Walters Art Gallery, Baltimore, 1992-3, no. 25; Impressionism. Paintings Collected by European Museums, High Museum of Art, Atlanta; Seattle Art Museum; Denver Art Museum 1999, no. 58; Alfred Sisley. Poeta del Impresionismo, Palazzo dei Diamanti, Ferrara; Museo Thyssen-Bornemisza, Madrid; Musee des Beaux-Arts, Lyon, 2002-3, (Madrid, no. 23, and Lyons, no. 25, only); Sisley in England and Wales, The National Gallery, London; Amgueddfa Cymru – National Museum Wales 2008-2009
This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. Significant provenance research has been undertaken previously, including checks by the Art Loss Register.

Red Star over Russia: A Revolution in Visual Culture 1905-55

Tate Modern (London, UK) from 08 Nov 2017 until 18 Feb 2018.

Aleksandr Deineka
(1899-1969)

Aleksandr Deineka, Stakhanovites, 1937

X63380
Stakhanovites

1937
painting
Oil paint on canvas
image: 1210 x 2000 mm frame: 1280 x 2070 x 40 mm
Perm State Art Gallery
Provenance:
Commissioned from the artist by the organising committee of the Soviet pavilion of the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1937;
allocated to the Perm State Art Gallery, 1938.
Nationality of artist: Russian
Address of lender: 4 Komsomolskii prospect Perm 614000 Russia

Identifying marks: Signed on bottom right: Дейнека
Place of Manufacture: presumed Russia
Catalogue Raisonné: Tatiana Yudkevich (ed.), Александр Дейнека: Живопись. Графика. Скульптура, Moscow: State Tret'iakov Gallery and Interros, 2010, p. 96, illustrated
The work has a complete provenance for the operative period 1933-45.

Aleksandr Deineka, 1917, 1937

X63381
1917

1937
painting
Oil paint on canvas
image: 700 x 2259 mm frame: 810 x 2350 x 50 mm
Perm State Art Gallery
Provenance:
Commissioned from the artist by the organising committee of the Soviet pavilion of the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1937;
allocated to the Perm State Art Gallery, 1938.
Nationality of artist: Russian
Address of lender: 4 Komsomolskii prospect Perm 614000 Russia
Identifying marks: Signed on bottom right: А. Дейнека
Place of Manufacture: presumed Russia
Catalogue Raisonné: Tatiana Yudkevich (ed.), Александр Дейнека: Живопись. Графика. Скульптура, Moscow: State Tret'iakov Gallery and Interros, 2010, p. 95, illustrated
The work has a complete provenance for the operative period 1933-45.

Aleksandr Deineka, 1937, 1937

X63382
1937

1937
painting
Oil paint on board
image: 700 x 2205 mm frame: 780 x 2285 x 32 mm
Perm State Art Gallery
Provenance:
Commissioned from the artist by the organising committee of the Soviet pavilion of the 1937 Exposition Internationale des Arts et Techniques dans la Vie Moderne, 1937;
allocated to the Perm State Art Gallery, 1938.
Nationality of artist: Russian
Address of lender: 4 Komsomolskii prospect Perm 614000 Russia
Identifying marks: Signed on bottom right: Дейнека 37 г.
Place of Manufacture: presumed Russia
Catalogue Raisonné: Tatiana Yudkevich (ed.), Александр Дейнека: Живопись. Графика. Скульптура, Moscow: State Tret'iakov Gallery and Interros, 2010, p. 95, illustrated
The work has a complete provenance for the operative period 1933-45.

Surrealism in Egypt: Art et Liberte 1938 – 1948

Tate Liverpool (Liverpool, UK) from 17 Nov 2017 until 18 Mar 2018.

Inji Efflatoun
(1924-1989)

Inji Efflatoun, Untitled (from the Girl and Monster series), 1941

X66300
Untitled (from the Girl and Monster series)

1941
painting
Oil paint on canvas
unconfirmed: 800 x 1305 mm
Private collection
Provenance:
Provenance;
Private collection, acquired from the below;
Private collection, Egypt - 2013
Nationality of the artist; Egyptian
Place of manufacture; Cairo, Egypt
Exhibition history;
Paris, Centre Pompidou, 19 October 2016 - 16 January 2017, Art et liberte: Rupture, guerre et surrealisme en Egypte (1938-1948)
Madrid, Reina Sofia, February 14 - May 28, 2017, Art et Liberte: Ruptura, guerra y surrealismo en Egipto (1938-1948)
Dusseldorf, K20 Kunstsammlung, 15 July - 15 October 2017, Art et Liberte: Rupture, War and Surrealism in Egypt (1938 -1948)
This work was produced during the operative period 1933 - 45. Its provenance during these years is not fully documented, however consultation with the relevant sources gives no evidence of wrongful taking.

Inji Efflatoun, Untitled (from the Girl and Monster series), 1942

X66295
Untitled (from the Girl and Monster series)

1942
painting
Oil paint on canvas
unconfirmed: 800 x 1305 mm
Private collection
Provenance:
Private collection, acquired from the below;
Private collection, Cairo, Egypt -2013
Nationality of the artist: Egyptian
Place of manufacture: Cairo, Egypt
Exhibition history;
Paris, Centre Pompidou, 19 October 2016 - 16 January 2017, Art et liberte: Rupture, guerre et surrealisme en Egypte (1938-1948)
Madrid, Reina Sofia, February 14 - May 28, 2017, Art et Liberte: Ruptura, guerra y surrealismo en Egipto (1938-1948)
Dusseldorf, K20 Kunstsammlung, 15 July - 15 October 2017, Art et Liberte: Rupture, War and Surrealism in Egypt (1938 -1948)
This work was produced during the operative period 1933 - 45. Its provenance during these years is not fully documented, however consultation with the relevant sources gives no evidence of wrongful taking.

Inji Efflatoun, Surrealist composition, 1942

X66296
Surrealist composition

[Composition Surréaliste] 1942
painting
Oil paint on canvas
unconfirmed: 710 x 605 mm
Private collection
Provenance:
Provenance;
Private collection, acquired from the below;
Tableaux Orientalistes et Art Moderne Arabe et Iranien, Christie's Paris, 9 November 2010, lot 90
Private collection, Paris, 2010
Nationality of artist: Egyptian
Place of manufacture: Cairo, Egypt
Exhibition history:
Paris, Centre Pompidou, 19 October 2016 - 16 January 2017, Art et liberte: Rupture, guerre et surrealisme en Egypte (1938-1948)
Madrid, Reina Sofia, February 14 - May 28, 2017, Art et Liberte: Ruptura, guerra y surrealismo en Egipto (1938-1948)
Dusseldorf, K20 Kunstsammlung, 15 July - 15 October 2017, Art et Liberte: Rupture, War and Surrealism in Egypt (1938 -1948)
This work was produced during the operative period 1933 - 45. Its provenance during these years is not fully documented, however consultation with the relevant sources gives no evidence of wrongful taking.

Fouad Kamel
(1919-1973)

Fouad Kamel, Untitled, 1942

X66297
Untitled

1942
painting
Oil paint on cardboard
unconfirmed: 705 x 500 mm
Private collection
Provenance:
Provenance;
Private collection, acquired from the below;
Private collection, Cairo, Egypt - 2013
Nationality of the artist; Egyptian
Place of manufacture; Cairo
Exhibition history;
Paris, Centre Pompidou, 19 October 2016 - 16 January 2017, Art et liberte: Rupture, guerre et surrealisme en Egypte (1938-1948)
Madrid, Reina Sofia, February 14 - May 28, 2017, Art et Liberte: Ruptura, guerra y surrealismo en Egipto (1938-1948)
Dusseldorf, K20 Kunstsammlung, 15 July - 15 October 2017, Art et Liberte: Rupture, War and Surrealism in Egypt (1938 -1948)
This work's provenance during the operative period 1933-45 is not fully documented, however consultation with the relevant sources gives no evidence of wrongful taking.

Samir Rafi
(1926-2004)

Samir Rafi, Untitled, 1946

X66304
Untitled

1946
painting
Gouache, ink and charcoal on board
unconfirmed: 410 x 1160 mm
Private collection
Provenance:
Provenance;
Private collection, acquired from the below;
Private collection, Cairo, Egypt - 2010
Nationality of artist; Egytpian
Place of manufacture; Cairo, Egypt
Exhibition history;
Paris, Centre Pompidou, 19 October 2016 - 16 January 2017, Art et liberte: Rupture, guerre et surrealisme en Egypte (1938-1948)
Madrid, Reina Sofia, February 14 - May 28, 2017, Art et Liberte: Ruptura, guerra y surrealismo en Egipto (1938-1948)
Dusseldorf, K20 Kunstsammlung, 15 July - 15 October 2017, Art et Liberte: Rupture, War and Surrealism in Egypt (1938 -1948)
This work was produced after the operative period 1933 - 45.

Mahmoud Said
(1897-1964)

Mahmoud Said, Woman with Golden Locks, 1933

X66299
Woman with Golden Locks

[Femme aux boucles d'or] 1933
painting
Oil paint on canvas
unconfirmed: 813 x 600 mm
Private collection
Provenance:
Provenance;
Private collection, acquired from the below;
Private collection, Cairo, Egypt - 2013
Nationality of the artist; Egyptian
Place of manufacture; Cairo, Egypt
Exhibition history;
Paris, Centre Pompidou, 19 October 2016 - 16 January 2017, Art et liberte: Rupture, guerre et surrealisme en Egypte (1938-1948)
Madrid, Reina Sofia, February 14 - May 28, 2017, Art et Liberte: Ruptura, guerra y surrealismo en Egipto (1938-1948)
Dusseldorf, K20 Kunstsammlung, 15 July - 15 October 2017, Art et Liberte: Rupture, War and Surrealism in Egypt (1938 -1948)
This work was produced during the operative period 1933 - 45. Its provenance during these years is not fully documented, however consultation with the relevant sources gives no evidence of wrongful taking.

AMEDEO MODIGLIANI

Tate Modern (London, UK) from 23 Nov 2017 until 02 Apr 2018.

Amedeo Modigliani
(1884-1920, born: Livorno, died: Paris)

Amedeo Modigliani, Nude Study, 1908

X63534
Nude Study

1908
painting
Oil paint on canvas
unconfirmed: 811 x 543 mm
Private Collection
Provenance:
Paul Alexandre (1881–1968), Paris [1] acquired directly from the artist;
By descent to Blaise Alexandre (until 1963) [2];
Private collection/s c.1963—November 1972 [3]
Palais Galliera, Paris, Sale of November 1972;
Richard Nathanson, London;
Private collection, by 1990 [4];
Acquired from the above by the present owner, an anonymous collector, 2016.

[1] In a photograph of Modigliani moving studios from 7 rue Delta to 10 place Dancourt on the morning of 5 July 1913, this work is clearly visible propped up against the cart. Paul Alexandre can be seen on the cart itself.
[2] Credited to a Private Collection, Paris, in Ceroni 1958 (no. 6)
[3] Lanthemann 1970 and Ceroni 1972 note ‘Private collection’
[4] Credited to Private Collection, Richard Nathanson, in Schmalenbach 1990 (reprinted 2005)


Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, bottom right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 008

Exhibition history:
Düsseldorf, Kunstsammlung Nordhein-Westfalen; Zurich, Kunsthaus Zurich, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, January 1 – July 7, 1991, no. 34, p. 32,
illustrated; no. 9, p. 57, illustrated in color; no. 3, p. 220
Tokyo, Musée Tobu; Kyoto, Musée Daimaru de Kyoto; Osaka, Musée Daimaru d’Umeda; Ibaraki, Musée d’Art Moderne, Exposition Amedeo Modigliani au Japon 1992- 1993, November 3, 1992 - March 28, 1993, no. 1, p. 54; p. 55, illustrated in color; no. 1, p. 203 (titled Etude du Nu ou Nu Dolent)
New York, Gagosian Gallery, Nudes: From Modigliani to Currin, September 20 –November 19, 2016, p. 43, illustrated in color; p. 178, illustrated in color (installation photo); p. 183, illustrated in color

Selected Literature:

Arthur Pfannstiel, Modigliani (Paris: M. Seheur, 1929), p. 2; p. 3, illustrated (titled Nu Douloureux)
Arthur Pfannstiel, Modigliani et Son Oeuvre: Étude Critique et Catalogue Raisonné
Paris: Bibliothèque des Arts, 1956), no. 5, p. 58 (titled Nu Douloureux)
Ambrogio Ceroni, Amedeo Modigliani: Peintre, Suivi des "Souvenirs" de Lunia
Czechowska (Milan: Edizioni del Milione, 1958), no. 6, p. 41; no. 6, p. 78, illustrated
(titled Nu Assis (étude))
J. Lanthemann, Modigliani, 1884-1920: Catalogue Raisonné, Sa Vie, Son Oeuvre
Complet, Son Art (Barcelona: Gráficas Condal, 1970), no. 19, p. 165, illustrated (titled Nu Assis)
Ambrogio Ceroni, Tout l’Oeuvre Peint de Modigliani (Paris: Flammarion, 1972), no. 8, p. 88, illustrated
Carol Mann, Modigliani (New York: Oxford University Press, 1980), no. 18, p. 43,
illustrated; no. 18, p. 210 (titled Study of a Nude)
Christian Parisot, Modigliani: Catalogue Raisonné, Volume 2: Peintures, Dessins,
Aquarelles (Livorno: Graphis Arte, 1990), no. 6/1908, p. 30, illustrated; no. 6/1908, p.264 (titled Nu Douloureux)
Osvaldo Patani, Amedeo Modigliani: Catalogo Generale, Volume 1, Dipinti (Milan: Leonardo, 1991), no. 13, p. 48, illustrated (titled Studio di Nudo)
Noël Alexandre, The Unknown Modigliani: Drawings from the Collection of Paul Alexandre (New York: Abrams, 1993), p. 36, illustrated; p. 38, illustrated in color (titled Melancholy Nude)
Marc Restellini, Modigliani: L’Ange au Visage Grave (Milan: Skira, 2002), fig. 15, p. 41, illustrated in color (titled Nu (Nu dolent))
Werner Schmalenbach, Modigliani. Munich: Prestel Verlag, 2005. Pl.9. 

This work was produced before the operative period 1933–45 and its provenance during this period is fully documented.

Amedeo Modigliani, Bust of Young Girl, 1908

X63573
Bust of Young Girl

1908
painting
Oil paint on canvas
unconfirmed: 610 x 380 mm
Private Collection
Provenance:
Dr Paul Alexandre (1881–1968) until at least 1958, likely acquired directly from the artist [1] [2];
Perls Galleries, New York by 1990 [3];
Private collection by 1994 [4];
Sotheby’s NY, Impressionist and Modern Art, Part II, November 9, 1995, Lot 299
Acquired at the above by the present owner, an anonymous collector
[1] Between 1907 and 1914 (when they last saw one another) Modigliani’s output was predominantly with Paul Alexandre, his first dealer.
[2] Roy (1958) credits the work to ‘Paul Alexandre Collection, Paris’. According to Noël Alexandre (1993, p.16) Roy consulted with Paul Alexandre.
[3] Schmalenbach (1990)
[4] See Noël Alexandre, The Unknown Modigliani
Notes:

Alexandre, p.84–86 discusses Modigliani’s portraits of ‘little Jeanne’, Ceroni nos. 10 and 11: ‘Little Jeanne’ had come to Paris from the provinces and worked as a model in the drawing schools. She was one of Modigliani’s girlfriends, whom he brought to the Delta.’ ‘Modigliani’s visit to ‘Little Jeanne’ (‘la Petit Jeanne’), who was ill and having treatment at the Broca hospital reminds of the two luminous and penetrating portraits that he did of her, one of which he exhibitied at the Salon des Independents in 1910. Because of a mistake of Pfannstiel’s, this picture is usually entitled Nu debout (Standing nude) [Ceroni no.11], although ‘La petite Jeanne’ is posed sitting on a bed.


Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, lower left
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 010

Exhibition history:

Paris, Cours-la-Reine, 24e Exposition, Société des Artistes Indépendants, 20 March – 7 May 1908
Brussels 1933
Bern 1955
Livorno, Villa Maria-Museo Progressivo d’Arte Contemporanea, Modigliani, 1984, esposte no.1
Tokyo, The National Musuem of Modern Art, Aichi Prefectural Art Gallery, Nagoya, Modigliani, 1985, no.3
Milan 1988-89
Martigny 1990
Dusseldorf 1991
Zurich 1991
Tokyo 1992--3
 
Selected Literature:

Pfannstiel, A. ‘Modigliani’, Paris, 1929
Pfannstiel, A. Modigliani and his work. Catalogue raisonne, Paris, 1956, no. 10
Ceroni, A. ‘Amedeo Modigliani’, Milan, 1958, pl.10
Claude Roy, Modigliani, Skira, 1958, p.25
T. Casteau-Barielle, 1987, ill.p.32
Ceroni 1989, ill.p.43
Noël Alexandre, The unknown Modigliani: Unpublished Papers, Documents and Drawings from the former collection of Paul Alexandre, 1994 (titled: Portrait of la Petite Jeanne)
Werner Schmalenbach, Modigliani: Paintings, Sculptures, Drawings, Munich, 1990, plate 12
Osvaldo Patani, Amedeo Modigliani: Catalogo Generale, Volume 1, Dipinti (Milan: Leonardo, 1991), no. 15, p. 49
Alexandre 1993, ill.p.87

This work was produced before the operative period 1933–45 and its provenance during this period is fully documented.

Amedeo Modigliani, The Cellist (recto); Portrait of Constantin Brancusi (verso), 1909

X63481
The Cellist (recto); Portrait of Constantin Brancusi (verso)

1909
painting
Oil paint on canvas
unconfirmed: 730 x 600 mm
Abelló Collection
Provenance:
Dr Paul Alexandre (1881–1968), Paris, from 1933, acquired directly from the artist, until at least 1969 [1];
Galerie Beyeler, Basel; from whom acquired by the present owener, an anonymous collector, Madrid, 5 June 1987 [2]


[1] Listed as ‘App. A M. Alexandre, Paris’, in Brussels 1933 exhibition, no, 5, there titled ‘Le joueur de violoncello (the cello player); listed as ‘Collection Dr. Paul Alexandre in New York 1951 exhibition, catalogue no. 14, illustrated; listed as ‘Co. Dr. Paul Alexandre’ in Pfansteil 1956,p.4, illustrated (plates unpaginated); listed as ‘Private Collection, Paris’ in Ceroni 1958, no. 19, p. 43, illustrated (plates section unpaginated); listed as ‘Dr. Paul Alexandre Collection, Paris’ in Warnod 1969, pl. 23 (illustrated); listed as ‘Private Collection, Paris in Picconi and Ceroni 1970’, nos. 22a and 22b (illustrated).
[2] Plate credited ‘Switzerland, courtesy Galerie Jan Kruiger, Germany’ in Schmalenbach 1990, no. 14, illustrated.



Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of artist: Italian
Identifying marks: ‘Modigliani’ (verso, lower right)
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 022

Exhibition history:
Paris, Salon des Indépendants, 1910
Brussels, Palais des Beaux-Arts, ‘Modigliani’, 1933, p.4
Cleveland, The Cleveland Museum of Arts, ‘Modigliani-Soutine’, 1951
New York, The Museum of Modern Art, ‘Modigliani’, 1951, p.18
Santander, Museo Municipal del Bellas Artes, ‘Grandes Maestrod de la Vanguardia Histórica en la colección de Juan Abelló, ‘De Picasso a Bacon’, August 1992, p.12
Madrid, Museo Nacional Centro de Arte Reina Sofia, ‘Modigliani desconocido: dibujos de la Antigua colección de Paul Alexandre’, Oct 1995 – Jan 1996, pp.48, 60, 96, 65, 414
Rome, Complesso del Vittoriano, ‘Amedeo Modigliani’, Feb – Jun 2006
Madrid, Museo Thyssen-Bornemisza, ‘Modigliani y su tiempo’, Feb – Mar 2008, no. 29
Madrid, Centro Ayuntamiento de Madrid, ‘Colección Abelló’, Oct 2014 – Mar 2015, no. 106
Dallas, Meadows Museum, Southern Methodist University, ‘The Abelló Collection’ Apr – Aug 2015, no. 68


Selected Literature:
Pfannstiel, A. ‘Modigliani’, Paris, 1929, pg. 17
Taguchi, S. ‘Modigliani’, Tokyo, 1936, s.p.
Franchi, R. ‘Modigliani’, Florence, 1946, pl. V
Raynal, R. ‘Modigliani’, Geneva, 1951, pl. I
Lipchitz, J. ‘Modigliani’, New York, 1952, pg. 1
Lipchitz, J. ‘Modigliani’, New York, Paris, 1954, pl. no. 12
Thrall Soby, J. ‘Modigliani’, New York, 1954, pl. no. 14
VVAA: Omaggio a Amedeo Modigliani, Rivista de Livorno, 1954, pl. no. 5
Pfannstiel, A. Modigliani andhis work. Catalogue raisonne, Paris, 1956, no. 16, pg. 61
Ceroni, A. ‘Amedeo Modigliani’, Milan, 1958, no. 18
Roy, C. ‘Modigliani’, Geneva, 1958
Wener, A. ‘Amedeo Modigliani’, Paris, Cologne, New York, 1968, pg.54, 77
Gindertael, R.B. Modigliani and Montparnasse, Milan, 1969, pl. II
Ceroni A, with introduction by L. Piccioni: Modigliani, Paris, Milan, Lucerne, 1970, no. 22a (recto) & 22b (verso), pg.84
Garfias, F. ‘Vida y obra de Daniel Vázquez Diaz’, Madrid, 1972, pg.98
Roy, C. ‘Modigliani’, Geneva, New York, 1985, pg. 26, 30,
Arnasson, H.H. ‘History of Modern Art. Painting, Sculpture, Architecture, Photography’, New York, 1986, pg. 249
Millán del Pozo, G. ‘Modigliani inédito. Tras las huellas de su estilo, Madrid, 1989, p. 212
Parisot, 1991, no. 8 and no. 8b
Alexandre, 1993, pg. 42, 48
Decroq, M.C. ‘Restellini, 2003, p. 110
Lobstein, 2003, pg. 1227


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Head, c.1909-11

X63590
Head

c.1909-11
sculpture
Sandstone
unconfirmed: 500 x 175 x 256 mm
Private Collection
Provenance:
The artist;
Léopold Zborowski, Paris;
Galerie Mouradian-Vallotton, Paris (Les Arts Plastiques Modernes), likely after 1925
Jacques Guérin (1902–-2000), Paris;
Sotheby’s London 28 June 1972, lot 44 [2];
From whom acquired by the present owner, an anonymous collector.

[1] From Studio International, June 1958, A.Watt, ‘Art Dealers of Paris’: In 1925, M. Mouradian and M. Van Leer opened a gallery on the Rue de Seine with a stock of paintings from Van Leer’s collection, including about twelve important Utrillos, and several paintings that they acquired on the market by Modigliani, Soutine, Derain and Roualt. They separated in 1934 and the following year went into business with M. Alfred Valloton, who had been working with Bernheim-Jeune. They were trading until at least 1958 (per date of Studio International article).

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. no. S013

Exhibitions:
Paris, Salon d’Automne, Grand Palais, 1 October – 8 November 1912
Trento, Museum of Modern and Contemporary Art of Trento and Rovereto 18 December 2010–27 March 2011
Selected Literature:
Ambrogio Ceroni, Amedeo Modigliani Dessins et Sculptures, Milan 1965, p.24, pl. 67
Jeanne Modigliani, Modigliani senza leggenda, Firenze 1958, pl. 16
Alfred Werner, Modigliani Sculpteur, Geneva 1962, pl.86
Lathenham no. 630 there credited to National Gallery of Art, Washington
This work was produced before the operative period 1933–1945 and has a complete provenance.

Amedeo Modigliani, Portrait of Pedro, 1909

X63599
Portrait of Pedro

1909
painting
Oil paint on canvas
unconfirmed: 550 x 465 mm unconfirmed, frame: 730 x 639 x 79 mm
Museo Soumaya Fundación Carlos Slim Collection, Mexico City
Provenance:
Leopold Zborowski (1889–1932), Paris, acquired directly from the artist;
Galerie Barreiro, Paris;
Edouard Herriot (1872–1957), acquired 1942;
Mrs. Regina Thürlimann, Zurich;
By descent from the above to a private collection, 1957;
Property formerly from the Collection of Dr. and Mrs. Freddy and Regina T. Homburger;
Impressionist and Modern Art (Evening Sale), 6 November 2002, Christie’s New York, Rockefeller Center, lot 13;
Soumaya Museum, Mexico City.

Lender’s address: Boulervard Miguel de Cervantes Saavedra 303, Granada, Miguel Hidalgo, 11529 Ciudad de México, CDMX, Mexico

Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 17

Exhibition history:
Paris, Galerie Charpentier, Cent tableaux de Modigliani, April-May 1958, p. 27, no. 4 (illustrated in color).
Marseille, Musée Cantini, Modigliani, June-July 1958, no. 15.
Boston, Museum of Fine Arts and Los Angeles County Museum of Art, Modigliani: Paintings and Drawings, January-April 1961, p. 30, no. 1 (illustrated in color).
Orono, University of Maine, The Freddy and Regina T. Homburger Collection, July-August 1962, no. 16.
Edinburgh, Royal Scottish Academy and London, Tate Gallery, Modigliani, September-November 1963, no. 3.
Northampton, Massachusetts, Smith College Museum of Art, The Freddy and Regina T. Homburger Collection, September-October 1964, no. 14.
Cambridge, Massachusetts, Fogg Art Museum, Selections from the Collection of Freddy and Regina T. Homburger, April, 1971, no. 26 (illustrated).
New York, Acquavella Galleries, Inc., Amedeo Modigliani, October-November 1971, no. 1.
Augusta, Maine State Museum, Freddy and Regina T. Homburger Art Collection, no. 26 (illustrated).
Sarasota, Florida, Ringling Museum of Art; Melbourne, Florida, Brevard Museum of Art & Science; and Daytona Beach, The Museum of Arts and Sciences, A Collector's World: Art of Four Continents, October 1978-December 1979, no. 6 (illustrated on the cover).
Paris, Musée d'Art Moderne de la Ville de Paris, Amedeo Modigliani, March-June 1981, no. 4 (illustrated in color).
Maine, Portland Museum of Art, November 1991-June 2002 (on extended loan).
Mexico City, Museo Soumaya, December 2004 - November 2005
Mexico City, Museo Soumaya, April 2011
Literature:
A. Ceroni, Amedeo Modigliani dessins et sculptures avec suite du catalogue illustré des peintures, Milan, 1965, p. 40, no. 159 (illustrated).
A. Ceroni and L. Piccioni, I dipinti di Modigliani, Milan, 1970, p. 89, no. 17 (illustrated, p. 88).
J. Lanthemann, Modigliani 1884-1920, catalogue raisonné: Sa vie, son oeuvre complet, son art, Barcelona, 1970, p. 109, no. 30 (illustrated, p. 167; titled Portrait d'homme).
D. Hall, Modigliani, Edinburgh, 1979, p. 1.
D. Hall, Modigliani, Oxford, 1984, no. 2.
O. Patani, Amedeo Modigliani, catalogo generale: Dipinti, Milan, 1991, p. 55, no. 23 (illustrated).
C. Parisot, Modigliani, catalogue raisonné: Peintures, dessins, aquarelles, Livorno, 1991, vol. II, p. 266, no. 5/1909 (illustrated, p. 36).
Gaston Diehl, Modigliani. New York: Three Rivers Press, 1995. Ill. p. 17.
Seis Siglos de Arte. Cien Grandes Maestros, Mexico City, 2005, p. 415.
Museo Soumaya.Fundación Carlos Slim, volume 1, Mexico City, 2015, p. 413.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Jean Alexandre (recto); Seated Nude (verso), 1909

X65464
Jean Alexandre (recto); Seated Nude (verso)

1909
painting
Oil paint on canvas
unconfirmed: 810 x 600 mm
Private Collection
Provenance:
Jean Alexandre, Paris, acquired directly from the artist [1];
by descent from the above to Dr. Paul Alexandre, 1913;
by descent from the above to Jeanne Bréfort, Paris, by 1966 [2];
from whom acquired by a Private Swiss Collector [Pierre Giannada, Martingny], 1990 [3];
by whom sold at Christie’s New York, 14 May 2015;
from whom acquired by the present owner, an anonymous collector, in 2015 Impressionist and Modern Evening Sale Including Property from the John C. Whitehead Collection 14 May 2015, Christies New York, Rockefeller Center, lot 3 C to the current owner, a private collector.


[1] The provenance is noted as ‘ordered by Jean Alexandre; Dr Paul Alexandre’ in the Paris 1981 exhibition catalogue.
[2] The work is listed as ‘Paris, coll. Mme Jeanne Bréfort in the Paris 1981 exhibition, nos. 3 and 3b in catalogue (illustrated).
[3] The work is listed as Collection Pierre Giannada in the the Martingny 1990 exhibition, no. 9 in catalogue (illustrated).

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: signed and dated 'Modigliani 1'août 1909' (lower right) 
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 016

Exhibition history:

Rome, Galleria Nazionale d'Arte Moderna, Modigliani, January–February 1959, p. 38, no. 6 (recto illustrated, pl. 5; verso mentioned).
Musée d'art moderne de la ville de Paris, Amedeo Modigliani, March-June 1981, p. 102, nos. 3 and 3bis (recto illustrated in colour; verso illustrated).
Martigny, Fondation Pierre Gianadda, Modigliani, June-October 1990, p. 209, nos. 9 and 9bis (recto and verso illustrated; verso illustrated in colour, p. 84; recto illustrated in colour, p. 85).
Zurich, Kunsthaus, Modigliani, April-July 1991.
Geneva, Palexpo, Modigliani, April-May 1992.
Tokyo, Tobu Museum; Osaka, Daimaru Museum and Ibaraki, Mito, Museum of Modern Art, Exposition Amedeo Modigliani au Japon, November 1992-March 1993, pp. 64 and 66, nos. 6 and 7 (recto and verso illustrated in colour, pp. 65 and 67).
Bruges, Stichting Sint-Jan, Der unbekannte Modigliani: Zeichnungen aus der Sammlung Paul Alexandre, July-October 1994, p. 82 (recto illustrated in colour, p. 83). 
Tokyo, Fujisankei Communications Group, Modigliani, October-December 1994.
Madrid, Museo Nacional, Centre de Arte Reina Sofia, Modigliani, October 1995-January 1996.
Geneva, Petit Palis, Musée d'art moderne, Montmartre vivant de Toulouse-Lautrec à Utrillo, February-May 1996, p. 22 (recto illustrated in colour). 
Rouen, Musée des Beaux-Arts, Modigliani, dessins et peintures, July-September 1996.
Mexico, Museo Olmedo, Montparnasse: los contemporáneos de Diego Rivera, February-June 1998, pp. 105-106 and 145, nos. 35a and 35b (recto and verso illustrated in colour, pp. 104-105 and 107).
Cairo, Mohamed Mahmoud Khalil Museum, October-December 1998.
Museo d'Arte Moderna della Città di Lugano, Amedeo Modigliani, March-June 1999, pp. 30-31, no. 4 (verso illustrated in colour, p. 30; recto illustrated in colour, p. 31).
Venice, Fondazione Giorgio Cini, Modigliani e i suoi, October-December 2000, pp. 212-213, no. 140 (recto and verso illustrated in colour). 
Paris, Musée du Luxembourg, Modigliani: The Melancholy Angel, October 2002-March 2003, p. 114, no. 6 (recto illustrated in colour, pp. 115-116; verso illustrated in colour, p. 117). 
Rome, Complesso del Vittoriano, Modigliani, February-June 2006, p. 130, no. 4 (recto illustrated in colour. pp. 131-132; verso in illustrated in colour, p. 133). 
Pushkin Museum, Moscow, Modigliani, March-May 2007, pp. 36-37, no. 6 (recto and verso illustrated in colour). 
Madrid, Museo Thyssen-Bornemisza, Modigliani y su tiempo, February-March 2008, pp. 59-50, nos. 11a and 11b (recto and verso illustrated in colour). 
Nagoya City Art Museum; Himeji City Museum of Art and Iwate Museum of Art, Modigliani. A Retrospective, April-October 2008, pp. 43 and 44 (recto and verso illustrated illustrated in colour, pp. 43 and 45). 
Evian, Palais Lumière, La Ruche, February-May 2009, p. 69 (recto and verso illustrated in colour). 
Gallarate, Museo Arte, Il mistico profano: Omaggio a Modigliani, March-June 2010, p.128, no. 5 (recto and verso illustrated in colour, pp. 30-31). 
Saint-Tropez, Musée de l'Annonciade, Amedeo Modigliani, July-October 2010, pp. 18-19 (recto and verso illustrated in colour). 
Martigny, Fondation Pierre Gianadda, Modigliani et l'Ecole de Paris, June-November 2013, p. 26 (recto and verso illustrated in colour, pp. 25 and 27). 
Pisa, Palazzo Blu, Amedeo Modigliani et ses amis, October 2014-February 2015, pp. 84 and 86, nos. 13a and 13b (recto and verso illustrated in colour, pp. 85 and 87).
Selected literature:


A. Pfannstiel, Modigliani et son oeuvre, Paris, 1956, pp. 58-59, no. 8 (dated 1908; recto and verso mentioned).
A. Ceroni, Amedeo Modigliani: Peintre, Milan, 1958, p. 42, no. 14 (recto illustrated, pl. 14). 
A. Werner, Amedeo Modigliani, Paris, 1966, p. 70 (recto illustrated in colour; verso mentioned).
A. Ceroni and L. Piccioni, I dipinti di Modigliani, Milan, 1970, p. 89, no. 16 (recto illustrated, p. 88).
J. Lanthemann, Modigliani: Catalogue raisonné, Barcelona, 1970, p. 109, no. 29 (recto illustrated, p. 167; titled Portrait du frère du Dr. Alexandre).
C. Mann, Modigliani, New York, 1980, p. 211, no. 27 (recto illustrated, p. 51).
C. Roy, Modigliani, New York, 1985, p. 154 (recto illustrated, p. 32).
T. Castieau-Barrielle, La vie et l'œuvre de Amedeo Modigliani, Paris, 1987, p. 45 (recto illustrated).
C. Parisot, Modigliani: Catalogue raisonné, peintures, dessins, aquarelles, Livorno, 1991, vol. II, p. 269, no. 12/1909 (recto illustrated, p. 43).
O. Patani, Amedeo Modigliani: Catalogo generale dipinti, Milan, 1991, p. 53, nos. 20a and 20b (recto and verso illustrated in colour).
N. Alexandre, The Unknown Modigliani: Drawings from the Collection of Paul Alexandre, New York, 1993, p. 82 (recto illustrated in colour, p. 83).
J. Meyers, Modigliani: A Life, Orlando, 2006, pp. 51-52 (recto and verso mentioned).
M. Secrest, Modigliani: A Life, New York, 2011, pp. 125-126 (recto and verso mentioned).
C. Parisot, Modigliani: Catalogue raisonné, Florence, 2012, vol. V, no. 12/1909 (recto and verso illustrated in colour).

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Head, 1911-12

X63480
Head

1911-12
sculpture
Stone
unconfirmed: 235 x 290 x 230 mm
Abelló Collection
Provenance:
Paul Guillaume, Paris acquired directly from the artist [1];
Corbelline Collection, Paris;
A. Kleinmann, Paris [Galerie Kleinman] [2];
Ernest de Frenne, Paris [3];
from whom acquired by Paul Martin, Paris (President of the Comité Professionnel des Galeries d'Art) in July 1941; until at least 1948);
Otto Gerson Gallery, Inc., New York [4];
from whom acquired by Herbert Singer, New York, 29th March 1961 [5];
Thence by descent;
The estate of Nell Singer;
by whom sold at Impressionist and Modern Art, Evening Sale, 05 February 2007, Sotheby’s London, Lot 33;
from whom acquired by the present owner, an anonymous collector.

[1] Paul Guillaume (1891 – 1934, Paris)
[2] Kleinmann, 8 rue de la Victoire from Malcolm Gee, Dealers, Critics, and Collectors of Modern Painting: Aspects of the Parisian Art Market Between 1910 and 1930, New York & London, 1981
[3] Galerie Ernest De Frenne, 41 Rue de Seube (1933-1935) from Malcolm Gee, Dealers, Critics, and Collectors of Modern Painting: Aspects of the Parisian Art Market Between 1910 and 1930, Newyork & London, 1981
[4] Otto Gerson 1902 – 1962
[5] Credited in 1962 to Singer in Alfred Werner, Modigliani. The Sculptor.


Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks:
Place of manufacture: Paris
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. S010

Exhibition history:
Museo Thyssen-Bornemisza, Madrid, ‘Modigliani y su tiempo’, February—March 2008, no.29
Colección Abelló, Centro Centro Madrid, 2 October 2014 – 1 March 2015. http://www.centrocentro.org/centro/exposicion_ficha/96
The Abelló Collection’ April—August 2015, Meadows Museum, Southern Methodist University, Dallas
Museum of Modern and Contemporary Art of Trento and Rovereto, Madrid, 18th Dec 2010 – 27th Mar 2011.

Literature:
The Art Journal, winter 1960-61, XX2, illustrated p. 73
Alfred Werner, Modigliani. The Sculptor, New York, 1962, illustrated pls. 34 & 35 (titled Caryatid Head)
Ambrogio Ceroni, Amedeo Modigliani, dessins et sculptures, Milan, 1965, no. X, illustrated pls. 50 &
51
Leone Piccioni & Ambrogio Ceroni, I dipinti di Modigliani, Milan, 1970, no. X, illustrated p. 107
John Lanthemann, Modigliani. Catalogue raisonné, Barcelona, 1970, no. 641, illustrated p. 319 (as dating from 1913)
Bernard Schuster and Arthur S. Pfannstiel, Modigliani: A study of his sculpture, Bibliotheque Modigliani Centennial Edition, 1986, p.54.
Ambrogio Ceroni, Tout l'oeuvre peint de Modigliani, Paris, 1972, no. X, illustrated p. 107
Arnoldo Mondadori (ed.), Modigliani, gli anni della scultura, Vicenza, 1984, no. 7, illustrated
Osvaldo Patani, Amedeo Modigliani. Catalogo generale, sculture e disegni 1909-1914, Milan, 1992, no. 16, illustrated p. 55 (as dating from 1912)


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Head, c.1911

X63488
Head

c.1911
sculpture
Stone
unconfirmed: 394 x 311 x 187 mm
Harvard Art Museums/Fogg Museum, Gift of Lois Orswell
Provenance:
The artist;
Leicester Gallery, London, UK (?);
Buchholz Gallery, New York, New York; sold to;
Lois Orswell, Pomfret Center, Connecticut, 1945(?), gift to:
Harvard University Art Museums, 1992

Lender’s address: 32 Quincy St, Cambridge, MA 02138, USA

Nationality of artist: Italian
Identifying marks:
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. S008

Exhibition history:

20th Century Abstract Painting and Sculpture, Museum of Art, Rhode Island School of Design, Providence, 04/16/1947 - 05/18/1947
20th Century Art in New England, Institute of Contemporary Art, Boston, Boston, 05/06/1948 - 06/30/1948
Modern Art at Harvard, Bunkamura Museum of Art, Tokyo, 07/31/1999 - 09/26/1999; Takamatsu City Museum of Art, Kagawa, 10/09/1999 - 11/14/1999; Matsuzakaya Art Museum, Nagoya, 12/02/1999 - 12/27/1999; Oita City Museum, Oita, 01/06/2000 - 02/06/2000; Museum of Modern Art, Ibaraki, Ibaraki, 02/11/2000 - 03/26/2000
Modigliani and the Artists of Montparnasse, Los Angeles County Museum of Art, 06/28/2003 - 09/28/2003
Modigliani: Beyond the Myth, Jewish Museum, New York, 05/21/2004 - 09/19/2004; Art Gallery of Ontario, Toronto, 10/23/2004 - 01/23/2005; The Phillips Collection, Washington, 02/26/2005 - 05/29/2005
32Q: 1300 Early Modernism, Harvard Art Museums, Cambridge, 11/01/2014 - 10/19/2017
Selected Literature:
James Thrall Soby, Modigliani. New York: The Museum of Modern Art, 1951. P.23, ill. (as: collection of Mrs. Orswell Dailey, Pomfret Center, Connecticut).
J. Lanthemann, Modigliani, Catalogue Raisonnée. Barcelona: Condal, 1970. As Buste de Jeune Fille, nr. 642, p.143, iIll.p. 319.
Leone Piccioni and Ambrogio Ceroni, I dipinti di Modogliani. Milan: Rizzoli Editore, 1970. Nr. VIII, p. 106-107, ill.
Dario Durbé and Angelo Titonel, Due pietre ritrovate di Amedeo Modigliani (1984)
Modigliani: gli anni della scultura, exh. cat., Mondadori (Venice, 1984), no. 8
Bernard Schuster, Modigliani: A Study of his Sculpture. Jacksonville: Namega Corp, 1986. As Tête, nr. IV, p. 54, ill.p.62.
"La Chronique des Arts: Principales Acquisitions des Musées en 1992", Gazette des Beaux-Arts (Paris, 1993), no. 305, p. 66, p. 66, ill. (b/w)
Anna Tahinci, "Maudit Modi: Modigliani's Sculpture", Sculpture Review (New York, NY, 2001), Vol. L, No. 2, pp. 16-21, p. 18, ill.
Marjorie B. Cohn and Sarah Kianovsky, Lois Orswell, David Smith, and Modern Art, exh. cat., Harvard University Art Museums (Cambridge, MA, 2002), cat. no. 171, fig. 153
Kenneth Wayne, Modigliani & The Artists of Montparnasse, exh. cat., Harry N. Abrams, Inc./Albright-Knox Art Gallery (New York, 2002), p. 123, cat. no. 43 (ill. in b/w)
Mason Klein, Modigliani: Beyond the Myth, exh. cat., The Jewish Museum/Yale University Press (New York, NY, 2004), p. 93, plate 8, ill.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Woman's Head (with Chignon), 1911-12

X63508
Woman's Head (with Chignon)

1911-12
sculpture
Sandstone
unconfirmed: 572 x 219 x 235 mm
Merzbacher Kunststiftung
Provenance:
The Artist;
Private collection, London;
Max Pellequer, Paris [1] until at least 1930 [2];
Galerie Beyeler, Basel [3];
Nathan and Marion Smooke, California, US (acquired from the above 23 January 1986);
Phillips, de Pury & Luxembourg New York: Monday, November 5, 2001, lot 13;
Merzbacher Kunststiftung, Küsnacht, Switzerland.
[1] ‘Max Pellequer was a nephew of the dealer and businessman André Level (1863–1947). Along with his brother, Raoul, he was an investor in Level’s Galerie Percier. Pellequer also served as a private banker and financial advisor to Pablo Picasso, who he met through his uncle during the 1920s. Pellequer often sold works to Picasso or exchanged them for the artist’s own work.’ (Index of Historic Collectors and Dealers of Cubism, The Metropolitan Museum of Art, New York). Birth/death dates unknown but (per Gallica documentation) he married in 1920s and his name appears as part of family in death notice in 1944; letters in the Musée Picasso archive indicate he was alive until at least 1964.
[2] The work is credited to Pellequer in Venice 1930.
[3] Galerie Beyeler was established from 1945. Records in the Fondation Beyeler archives confirm that this sculpture was bought from Max Pellequer, Paris (date unknown) and sold on January 23rd, 1986 to Smooke, Los Angeles.

Lender’s address:  Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks:
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. S009
Exhibition history:
Paris, Salon d’Automne, Grand Palais, 1 October – 8 November 1912
Venice, Fototeca dell’A.S.A.C Biennale, 1930, Photo n. 311
Venice, XVIII Esposizione Internazionale d’Arte di Venezia, 1930, no. 41
Basel, Galerie Beyeler, Portraits et figures, February–-April.1982, No. 71
Zug, Kunsthaus, Steinskulpturen im 20. Jahrhundert, 1982, 0.73
Basel, Galerie Beyeler, Aus Privaten Sammlungen, 18–19.4.1986, No.34
Los Angeles, Los Angeles County Museum of Art, 16.4–28.6.1987, Degas to Picasso: modern masters form the Smooke Collection, p. 92–93
London, Royal Academy of Arts, 27.7–17.11.2002, Masters of Colour Derain to Kandinsky, No.22
Zürich, Kunsthaus, 10.2–14.5.2006, Fest der Farbe die Sammlung Merzbacher-Mayer, No.114
Martigny, Fondation Pierre Gianadda, 29.6-25.11.2012, Van Gogh, Picasso, Kandinsky... Collection mjerzbacher Le Mythe de la Couleur, No. 49
Martigny, Fondation Pierre Gianadda, 21.6–24.11.2013, Modigliani et l’école de Paris, no.3


Selected Literature:
Raffaele Carrieri, Pittura e scultura d’avanguardia (1890-1955), Milan, 1950, p.97, pl.110
Alfred Werner, Modigliani the Sculptor, Geneva, 1962, no.51
Ambrogio Ceroni, Amedeo Modigliani Dessins et Sculptures, Milan 1965, p.24, pl. 47
Ambrogio Ceroni and Leone Piccioni, I dipinti di Modigliani, Milan, 1970, p.106, No.IX (ill.p.108; erroneous No.XII)
Piccioni/Ceroni: Modigliani, Milan-Paris-Lucenre, 1970, No.IX, ill.p.108
J.Lanthemann, Modigliani 1884-1920, Catalogue raisonné, sa vie, son oeuvre complet, son art, Barcelona, 1970, p.142, No.620
Claude Roy, Modigliani, Geneva and New York, 1985, p.62
Osvaldo Patani, Amedeo Modigliani, Exh.cat, Lugano, Museo d’Arte Moderna, 1999, p.139
Buffalo, NU, Albright-Knox Art Gallery, Modigliani and the artists of Montparnasse, 2002
Rovereto, IT, Museo di Arte Moderna e Contemporanea di Trento e Rovereto v. 18.12.2010-27.3.2011, catalogue: Modigliani Sculptor Rediscovered, p.38 No.60, p.50 No. 122, p.120 No. IX (MART, Silvana Editorial)

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Head, 1911–12

X63527
Head

1911–12
sculpture
Limestone
unconfirmed: 743 x 241 x 165 mm, 41.3 kg
Private Collection
Provenance:
Augustus John, Hampshire & London, acquired from the artist in 1912;
Arthur Tooth & Sons, London, acquired from the above in 1955;
Hanover Gallery, London, acquired from the above in 1956;
Private Collection, Europe, acquired from the above in 1956;
Private Collection;
Sotheby’s, Impressionist and Modern Art Evening Sale, 4 November 2014, lot 8
Acquired from the above by the present owner, an anonymous collector.

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks:
Place of manufacture:
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. S022

Exhibition history:
Paris, Grand Palais, Salon d’Automne, 10e Exposition, 1912
Berne, Kunsthalle, Modigliani Campigli Sironi, 1955, no. 98, illustrated in the catalogue

Selected Literature:
Dorila, ‘Le Salon d’Automne,’ in La Vie Parisienne, Paris, 1912, no. 40, illustrated p. 713
‘Au Salon d’Automne,’ in L’Illustration, Paris, 1912, no. 3633, illustrated p. 268
Jeanne Modigliani, Modigliani: Man and Myth, New York , 1958, no. 68, illustrated pl. 68
Jeanne Modigliani, Modigliani sans légende, Paris, 1962, no. 65, illustrated
Jeanne Modigliani, Modigliani senza leggenda, Florence, 1958, illustrated pl. 66
Ambrogio Ceroni, Amedeo Modigliani, dessins et sculptures, avec suite du catalogue illustré des peinture, Milan, 1965, no. XXII, p. 26, illustrated pls. 92-93
Alfred Werner, Modiglian the Sculptor, New York, 1962, no. 2, illustrated pp. 2-4
Ambrogio Ceroni, I dipinti di Modigliani, 1970, Milan, no. XXII, illustrated p. 109
Joseph Lanthemann, Modigliani, catalogue raisonné, Sa vie, son oeuvre complet, son art, Barcelona, 1970, no. 635, illustrated p. 317
Joseph Lanthemann & Christian Parisot, Modigliani Inconnu, suivi de precisions et documents inédits, Brescia, 1978, p. 21
Vera Durbé, Modigliani, gli anni della scultura, Milan, 1984, illustrated pl 22
Bernard Schuster & Arthur S. Pfannstiel, Modigliani, A Study of his Sculpture, Jacksonville, 1986, no. XXIV, illustrated p. 49
Osvaldo Patani, Amedeo Modigliani, catalogo generale, sculture e disegni, 1904-1914,Milan, 1992, no. 23, illustrated p. 62-63
Noël Alexandre, The Unknown Modigliani, Drawings from the Collection of Paul Alexandre, New York, 1993, illustrated p. 239
Modigliani and the Artists of Montparnasse (exhibition catalogue), Albright-Knox Art Gallery, Buffalo, 2002, photograph of the present work in situ at the Salon of 1912, p. 53
Modigliani Sculptor (exhibition catalogue), Museo di arte Moderna e Contemporanea di Trento e Rovereto, Rovereto, 2010, illustrated pp. 23, 25, 47 & 121
Christian Parisot, Modigliani catalogue raisonné, Tome V, Rome, 2012, no. XXII/XXX, illustrated p. 134-135


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Head, c. 1910-11

X63609
Head

c. 1910-11
sculpture
Limestone
unconfirmed: 418 x 125 x 170 mm base: 108 x 125 x 170 mm
The Henry and Rose Pearlman Collection on long term loan to the Princeton University Art Museum
Provenance:
Leopold Zborowski (1889–1932), Paris, acquired directly from the artist; Mrs. Cornelius J. [Mary Quinn] Sullivan (1877–1939), by Dec. 1937, London; sold at auction, Paintings, Drawings, Sculptures, Prints by Modern Artists…The Entire Collection of Mrs. Cornelius J. Sullivan, Parke-Bernet, New York, 6–7 Dec. 1939, lot 66; Fine Arts Associates (Otto Gerson) New York, by 1950; sold to Henry Pearlman, by Oct. 1954; Henry and Rose Pearlman Foundation, by 1959.

Lender’s address: Elm Dr, Princeton, NJ 08544, USA

Nationality of artist: Italian
Identifying marks:
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. S005

Exhibition history:
Exhibition Mrs. Cornelius J. Sullivan, New York, (Dec 6 – Dec 23 1937)
Amedeo Modigliani, 1954: Fine Arts Associates (25 Oct 1954 – 13 Nov 1954)
Rodin to Lipchitz: Fine Arts Associates (25 Oct 1955 – 20 Nov 1955)
Anonymous Collection: Baltimore Museum of Art (1 Jul 1958 – 1 Sep 1958)
A Loan Exhibition of Paintings, Watercolors and Sculpture from the Collection of Mr. and Mrs. Henry Pearlman for the Benefit of Greenwich House: M. Knoedler & Company (27 Jan 1959 – 21 Feb 1959)
The Henry Pearlman Collection: Brooklyn Museum (22 May 1964 – 15 Oct 1964)
Cézanne and His Contemporaries: The Mr. and Mrs. Henry Pearlman Collection: Detroit Institute of Arts (14 Jun 1967 – 1 Oct 1967)
Impressionism, Post-Impressionism, Expressionism: The Mr. & Mrs. Henry Pearlman Collection of Works by Cézanne, Van Gogh, Degas, Tolouse-Lautrec, Manet, Modigliani, Soutine, and Others: Wadsworth Atheneum Museum of Art (10 Jun 1970 – ?)
Loan Collection of Mr. and Mrs. H. Pearlman: M. Knoedler & Company (15 Aug 1973 – 15 Oct 1973)
An Exhibition of Paintings, Watercolors, Sculpture and Drawings from the Collection of Mr. and Mrs. Henry Pearlman and the Henry and Rose Pearlman Foundation: Brooklyn Museum (22 May 1974 – 29 Sep 1974); Princeton University Art Museum (8 Dec 1974 – 14 March 1975)
Gardens and Ghettoes: The Art of Jewish Life in Italy: The Jewish Museum (15 Sep 1989 – 1 Feb 1990)
Paris in New York: French Jewish Artists in Private Collections: The Jewish Museum (5 Mar 2000 – 25 Jun 2000)
Modigliani: Beyond the Myth: The Phillips Collection (19 Feb 2005 – 29 May 2005); The Jewish Museum (21 May 2004 – 19 Sep 2004); The Art Gallery of Ontario (23 Oct 2004 – 23 Jan 2005).
Modigliani scultore: Museo di arte moderna e contemporanea di Trento e Rovereto (18 Dec 2010 – 28 Mar 2010)
Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection: Ashmolean Museum of Art & Archaeology (13 Mar 2014 – 22 Jun 2014); Musée Granet (12 Jul 2014 – 5 Oct 2014); High Museum of Art (25 Oct 2014 – 11 Jan 2015); Princeton University Art Museum (19 Sep 2015 – 10 Jan 2016)

Selected Literature:
Rachael Z. DeLue et al., Cézanne and the Modern: masterworks of European art from the Pearlman Collection, (Princeton, NJ: Princeton University Art Museum; New Haven, CT: Yale University Press, 2014).
Gabriella Belli, Flavio Fergonzi, Alessandro Del Puppp and Clarenza Catullo, Modigliani sculptor, (Cinisello Balsamo: Silvana Editoriale; Rovereto: MART, 2010).
Mason Klein, ed., Modigliani: Beyond the Myth (New York; New Haven: Yale University Press, 2004).
Susan Chevlowe, Paris in New York: French Jewish Artists in Private Collections (New York, 2000)
Osvaldo Patani, Amedeo Modigliani, catalogo generale, (Milan: Leonardo, 1991-1994).
Vivian B. Mann, ed., Gardens and Ghettos: The Art of Jewish Life in Italy (Berkeley, 1989)
Bernard Schuster and Arthur S. Pfannstiel, Modigliani: A Study of His Sculpture (Jacksonville, Fa., 1986)
An Exhibition of Paintings, Watercolors, Sculpture and Drawings from the Collection of Mr. and Mrs. Henry Pearlman and Henry and Rose Pearlman Foundation (New York, 1974)
Francoise Cachin and Ambrogio Ceroni, Tout l'oeuvre peint de Modigliani (Paris, 1972)
Impressionism, Post-impressionism, Expressionism: The Mr. & Mrs. Henry Pearlman Collection of Works by Cézanne, Van Gogh, Degas, Toulouse-Lautrec, Manet, Modigliani, Soutine, and Others (Hartford, 1970)
Cézanne and His Contemporaries: The Mr. and Mrs. Henry Pearlman Collection (Detroit, 1967)
Ambrogio Ceroni, Amedeo Modigliani: dessins et sculptures (Milan, 1965)
Alfred Werner, Modigliani the Sculptor (New York, 1962)
A. L. Chanin, "The Henry Pearlman Collection," Connoisseur 145, no. 586 (June 1960)
A Loan Exhibition of Paintings, Watercolors and Sculpture from the Collection of Mr. and Mrs. Henry Pearlman for the Benefit of Greenwich House (New York, 1959)
Rodin to Lipchitz (New York, 1955)
Amedeo Modigliani, 1884-1920 (New York, 1954)


This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking. 

Amedeo Modigliani, Head, 1911-12

X63615
Head

1911-12
sculpture
Limestone
unconfirmed: 654 x 171 x 213 mm
Minneapolis Institute of Art, Gift of Mr. and Mrs. John Cowles
Provenance:
Paul Guillaume [1891-1934], Paris, France, acquired directly from the artist [1];
(Hotel Drouot, Paris, France, June 14, 1930, no.15) [2];
Buchholz Gallery [1937-1955], New York, November 20, 1950;
John [d.1983] and Elizabeth [Bates] Cowles, Minneapolis, Minnesota;
Gifted to the Minneapolis Institute of Art, Minneapolis
[1] Guillaume, Modigliani’s dealer, retained the sculpture after the artist’s death and sent it to Galerie Bing’s Modigliani exhibition in 1925. It was later put up for auction in a Hotel Drouot sale in 1930 (‘Modigliani Sculptor, 2010, p.212).
[2] An annotation to the side of the listing reads "40.000 Level".

Lender’s address: 2400 3rd Ave S, Minneapolis, MN 55404, USA

Nationality of artist: Italian
Identifying marks:
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. S016

Exhibition history:
Paris, France. Studio of Amadeo Souza Cardoso, March 5th, 1911.
Paris, France. 1911 or 1912. Nos. 1215 or 1216 or 1217?
Paris, France. Galerie Bing & Cie. Modigliani exhibition, 1925, no.35.
Minneapolis, MN. Minneapolis Institute of Arts. "Minnesota Collects Modern Sculpture." April 1 – May 3, 1959.
Winnipeg, Manitoba, Canada. Winnipeg Art Gallery. "1912: The Break Up of Tradition." August 7 – October 4, 1987.
Rovereto, Italy. Museo di Arte Moderna e Contemporanea di Trento e Roverto. "Modigliani Scultore." December 18, 2010-March 28, 2011.

Literature:
Hotel Drouot. "Tableaux modernes, aquarelles, pastels, sculptures." June 14, 1930, no.15, ill.
Descargues, Pierre. "Amedeo Modigliani: 1884-1920.2 Paris: Ed. Braun et Cie, 1951. Pl.1.
G. di San Lazzaro, Modigliani, Paris 1953, pl. 9
P. Descargues, Modigliani, Paris 1954, pl.1.
Jeanne Modigliani, Modigliani Senza Leggenda, Florence 1958, pl. 15
MIA Bulletin. Vol. XLVIII, No.2, Spring 1959, p.5, ill.
Werner, Alfred. "Modigliani the Sculptor". New York: Arts, 1962. Pl. 52 and 53.
Jeanne Modigliani, Modigliani sans Légende, Paris 1962, pl. 68.
The Connoisseur Year Book, 1964, p.102.
Ceroni, Ambrogio. "Amedeo Modigliani; dessins et sculptures avec suite du catalogue illustré des peintures." Milan: Edizioni del Milione, 1965. Pl.72, 75.
D’Argencourt, Louise. "1912: Break up of Tradition: August 7 to October 4, 1987, Winnipeg Art Gallery". Winnipeg: Winnipeg Art Gallery, 1987, p.212.
Parisot, Christian. Modigliani: Catalogue Raisonnée. Editions Graphis arte, 1990. P. 118.
Pantani, Osvaldo. "Amedeo Modigliani: catalogo generale: sculture e disegni, 1909-1914." Vol.1. Milan: Leonardo, 1992, No.11.
Belli, Gabriella, Flavio Fergonzi and Alessandro Del Puppo, Modigliani Sculptor. Rovereto: Silvana Editoriale, 2010. Cat.22, p.212, ill.
Roberta Bartoli, ‘Red and Hot: The Many Loves of Amedeo Modigliani’. Minneapolis Institute of Art: Mia Stories, 19 September 2014, https://new.artsmia.org/stories/red-and-hot-the-many-loves-of-modigliani/

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Caryatid with Pointed Breast, c.1913-14

X65461
Caryatid with Pointed Breast

c.1913-14
on paper, unique
Pen, ink and crayon on paper
unconfirmed: 270 x 208 mm
Yale University Art Gallery, Collection of Frances and Ward Cheney, B.A. 1922
Provenance:
The artist;
Frances and Ward Cheney, B.A. 1922, Collection; gift of their daughter, Mrs. Anne C. Zinsser (formerly von Ziegesar) in 1971 to:
Yale University Art Gallery.
Nationality of artist: Italian
Identifying marks: signed 'Modigliani' lower right
Place of manufacture: Paris, France

Lender’s address: 1111 Chapel St, New Haven, CT 06510, USA

Selected Literature:
"Art News," Volume 49, 1950, p. 62;
M. Rothlisberger, "Critica d'Arte," VII, 38, 1960, pp. 97-112.
Published on http://artgallery.yale.edu/collections/objects/12949
This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Juan Gris, 1915

X63428
Juan Gris

1915
painting
Oil paint on canvas
unconfirmed: 549 x 381 mm frame: 718 x 546 x 54 mm
The Metropolitan Museum of Art, Bequest of Miss Adelaide Milton de Groot (1876-1967), 1967 (67.187.85)
Provenance:
The artist;
private collection, United States (in 1947); [Perls Galleries, New York, until 1950;
stock no. 4695; sold on February 27, 1950, for $6,200, to de Groot];
Adelaide Milton de Groot, New York (1950–d. 1967; her bequest to MMA)

Lender’s address: 1000 5th Ave, New York, NY 10028, USA
Nationality of artist: Italian
Identifying marks: inscribed ‘GRIS’ upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 099

Exhibition history:
New York. Perls Galleries. "The Perls Galleries Collection of Modern French Paintings," February 27–March 25, 1950, no. 75 (as "Portrait de Juan Gris," 1918).
New York. Perls Galleries. "Masterpieces from the Collection of Adelaide Milton de Groot," April 14–May 3, 1958, no. 27 (as "Portrait de Juan Gris," 1916).
Columbus Gallery of Fine Arts. "Masterpieces from the Adelaide Milton de Groot Collection," December 2, 1958–March 1, 1959, no. 26 (as "Juan Gris," 1916) [probably withdrawn early for Exh. Chicago-Milwaukee-Cincinnati 1959].
Arts Club of Chicago. "Amedeo Modigliani," January 30–February 28, 1959,
unnumbered cat. (as "Juan Gris," c. 1915, lent by Miss Adelaide Milton de Groot, New York).
Milwaukee Art Center. "Amedeo Modigliani," March 5–April 1, 1959, unnumbered cat.
Contemporary Arts Center, Cincinnati Art Museum. "Amedeo Modigliani," April 18–May 20, 1959, no. 8 (as "Juan Gris," c. 1915, lent by Miss Adelaide Milton de Groot, New York).
Museum of Fine Arts, Boston. "Modigliani: Paintings and Drawings," January 19–February 25, 1961, no. 8 (lent by Miss Adelaide Milton de Groot, New York).
Los Angeles County Museum of Art. "Modigliani: Paintings and Drawings," March 28–April 30, 1961, no. 8.
Edinburgh. Royal Scottish Academy. "Modigliani," August 17–September 15, 1963, no. 8.
London. Tate Gallery. "Modigliani," September 28–November 3, 1968, no. 8.
Tokyo. Grand Magazin Seibu. "Modigliani," May 3–June 19, 1963, no. 23.
National Museum of Modern Art, Kyoto. "Modigliani," June 22–August 4, 1968, no. 23.
Fukuoka Cultural Center. "Modigliani," August 15–September 1, 1968, no. 23.
Paris. Musée Jacquemart-André. "Le Bateaux-Lavoir: Berceau de l'art moderne," October 10, 1975–January 31, 1976, no. 48 (as "Portrait de Juan Gris").
Bellingham, Wash. Whatcom Museum of History and Art. "5000 Years of Art: An Exhibition from the Collections of The Metropolitan Museum of Art," December 4, 1976–October 2, 1977, no. 73.
Oklahoma City. Oklahoma Museum of Art. "Masters of the Portrait," March 4–April 29, 1979, no. 35 (as "Portrait of Juan Gris," ca. 1915–16).
Daimaru Museum, Tokyo. "Modigliani Exhibition," September 13–October 16, 1979, no. 5.
Daimaru Museum, Osaka. "Modigliani Exhibition," October 25–November 6, 1979, no. 5.
Musée d'Art Moderne de la Ville de Paris. "Amedeo Modigliani, 1884–1920," March 26–June 28, 1981, no. 28.
Museum of Modern Art, Saitama. "From Impressionism to École de Paris: Its Passion and Struggle," November 3–December 12, 1982, no. 48.
Bellevue, Wash. Bellevue Art Museum. "Five Thousand Years of Faces," January 30–July 30, 1983, unnumbered cat. (as "Portrait of Juan Gris").
National Museum of Modern Art, Tokyo. "Modigliani," July 19–September 29, 1985, no. 51.
Nagoya. Aichi Prefectural Art Gallery. "Modigliani," October 23–November 7, 1985, no. 51.
Canberra. Australian National Gallery. "20th Century Masters from The Metropolitan Museum of Art, New York," March 1–April 27, 1986, unnumbered cat. (p. 36).
Brisbane. Queensland Art Gallery. "20th Century Masters from The Metropolitan Museum of Art, New York," May 7–July 1, 1986, unnumbered cat.
London. Royal Academy of Arts. "Italian Art in the 20th Century: Painting and Sculpture 1900–1988," January 14–April 9, 1989, no. 58.
Venice. Palazzo Grassi. "Italian Art, 1900–1945," April 29–November 6, 1989, unnumbered cat. (p. 352; dated c. 1915).
Düsseldorf. Kunstsammlung Nordrhein-Westfalen. "Amedeo Modigliani. Malerei—Skulpturen—Zeichnungen," January 19–April 1, 1991, no. 30.
Kunsthaus Zürich. "Amedeo Modigliani. Malerei—Skulpturen—Zeichnungen," April 19–July 7, 1991, no. 30.
New York. The Metropolitan Museum of Art. "Painters in Paris: 1895–1950," March 8–December 31, 2000, extended to January 14, 2001, unnumbered cat. (p. 33).
Kyoto Municipal Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," September 14–November 24, 2002, no. 33.
Tokyo. Bunkamura Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," December 7, 2002–March 9, 2003, no. 33.
New York. The Metropolitan Museum of Art. "Artists' Artists," July 2–November 14, 2004, no catalogue.
London. Royal Academy of Arts. "Modigliani and His Models," July 8–October 15, 2006, no. 7.
Moscow. State Pushkin Museum of Fine Arts. "Modigliani," March 21–June 17, 2007, no. 26.
Madrid. Museo Thyssen-Bornemisza. "Modigliani y su tiempo," February 5–May 18, 2008, no. 56.

Selected Literature:
Daniel-Henry Kahnweiler. Juan Gris: His Life and Work. New York, 1947, p. ix, fig. 7, dates it about 1918 and locates it in a private collection, U. S.
Howard Devree. "Both Old and New: From the Early Renaissance to Picasso Range the New Exhibitions." New York Times (March 5, 1950), p. 104, mentions this picture as "warrant by itself for a visit" to Exh. New York 1950.
Jacques Lipchitz. Amedeo Modigliani (1884–1920). New York, 1954, pl. 60, dates it 1916.
Arthur Pfannstiel. Modigliani et son œuvre. Paris, 1956, p. 90, no. 114, as "Le Peintre Juan Gris"; lists it under 1916.
Jeanne Modigliani. Modigliani: Man and Myth. New York, 1958, pp. 67, 72, comments that although this picture has been dated 1916, Modigliani probably met Gris in 1909–10 at Gertrude Stein's apartment on the rue de Fleurus.
Frederick S. Wight. Modigliani: Paintings and Drawings. Exh. cat., Museum of Fine Arts, Boston. Los Angeles, 1961, pp. 22, 34, no. 8, ill. p. 15, dates it about 1915; notes the Cubist influence in this picture.
Jeanne Modigliani. Modigliani sans légende. Paris, 1961, p. 77.
John Russell. Modigliani. Exh. cat., Royal Scottish Academy, Edinburgh. 1963, pp. 14–15, no. 8, pl. 6, dates it about 1915.
Ambrogio Ceroni. Amedeo Modigliani: Dessins et sculptures, avec suite du catalogue illustré des peintures. Milan, 1965, p. 42, no. 173, ill., dates it 1916.
Alfred Werner. Amedeo Modigliani. New York, [1966], fig. 46, dates it about 1918.
Ambrogio Ceroni. I dipinti di Modigliani. Milan, 1970, pp. 92–93, no. 99, ill. [French ed., 1972].
J[oseph]. Lanthemann. Modigliani, 1884–1920, catalogue raisonné: Sa vie, son œuvre complet, son art. Barcelona, 1970, p. 114, no. 108, ill. p. 187, illustrates another portrait of Gris, calling ours the second.
Thomas Schlotterback. 5000 Years of Art: An Exhibition from the Collections of The Metropolitan Museum of Art. Exh. cat., Whatcom Museum of History and Art. Bellingham, Wash., 1976, p. 99, no. 73, ill., dates it 1918.
William Fifield. Modigliani. New York, 1976, p. 191.
Thomas Schlotterback in Five Thousand Years of Faces. Exh. cat., Bellevue Art Museum. Bellevue, Wash., 1983, unpaginated.
Rafael Santos Torroella in Modigliani, 1884–1920. Exh. cat., Centre Cultural de la Caixa de Pensions. Barcelona, 1983, p. 21, fig. 4.
Kathleen Howard, ed. The Metropolitan Museum of Art Guide. New York, 1983, p. 412, no. 5, ill. (color).
Douglas Hall. Modigliani. Oxford, 1984, unpaginated, colorpl. 24, remarks that, unlike most of his other stylized portraits, this picture shows Modigliani's rapport with the sitter; surmises that this "effeminate" portrayal of Gris "hints at some clash between the two men" .
Jeanne Modigliani. Racconta Modigliani. Ed. Giorgio and Guido Guastalla. Livorno, 1984, p. 98.
Terence Measham in 20th Century Masters from The Metropolitan Museum of Art, New York. Exh. cat., Australian National Gallery. Canberra, 1986, p. 36, ill. (color), notes that this picture was probably painted in a single sitting and mentions similarities with Modigliani's sculpture, African art, and Cubism; remarks that the inscription is not only the sitter's name but also means "gray," a color associated with Spanish art and Cubism.
Neal Benezra. "A Study in Irony: Modigliani's 'Jacques and Berthe Lipchitz'." Art Institute of Chicago Museum Studies 12, no. 2 (1986), p. 190, fig. 4, calls it a "rather disparaging depiction".
Thérèse Castieau-Barrielle. La Vie et l'œuvre de Amedeo Modigliani. Paris, 1987, p. 107, ill. (color).
Gaston Diehl. Modigliani. rev. ed. [1st ed., 1969]. New York, 1989, p. 64, ill. p. 35 (color), characterizes Modigliani as "understanding and affectionate" in this portrait.
Werner Schmalenbach. Amedeo Modigliani. Malerei—Skupturen—Zeichnungen. Exh. cat., Kunstsammlung Nordrhein-Westfalen. Munich, 1990, pp. 31, 220, no. 30, colorpl. 32, dates it about 1915.
Osvaldo Patani. Amedeo Modigliani: Catalogo generale. Vol. 1, Dipinti. Milan, 1991, p. 124, no. 104, ill. (color).
Christian Parisot. Modigliani: Catalogue raisonné. Ed. Giorgio and Guido Guastalla. Vol. 2, Peintures, dessins, aquarelles. Livorno, 1991, pp. 286–87, no. 37/1915, ill. p. 97.
Anette Kruszynski. Amedeo Modigliani: Portraits and Nudes. Munich, 1996, pp. 34, 36, 40, 45, 118, ill. p. 38 (color), dates it about 1915; suggests that the inscription imitates the inclusion of letters in Cubist paintings.
Kenneth Wayne. Modigliani and the Artists of Montparnasse. Exh. cat., Albright-Knox Art Gallery, Buffalo. New York, 2002, pp. 32–33, fig. 7 (color), suggests that Modigliani could have met Gris even earlier than suggested by Jeanne Modigliani [Ref. 1958], when both artists lived in the Bâteau Lavoir, by 1908.
Werner Schmalenbach in Modigliani: The Melancholy Angel. Exh. cat., Musée du Luxembourg, Paris. Milan, 2002, p. 37, fig. 8, dates it about 1915.
Tamar Garb in Modigliani: Beyond the Myth. Ed. Mason Klein. Exh. cat., Jewish Museum, New York. New Haven, 2004, pp. 45–46, fig. 2 (color).
Mason Klein in Modigliani: Beyond the Myth. Ed. Mason Klein. Exh. cat., Jewish Museum, New York. New Haven, 2004, p. 8, asserts that the depiction of individual traits within geometric forms as seen in this portrait is a formal expression of "the inability of Jews to escape their condition".
Rudy Chiappini in Modigliani. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2006, pp. 25–26, fig. 6.
Simonetta Fraquelli in Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, pp. 32, 82, 155, no. 7, ill. p. 83 (color), calls it close to caricature.
Kathleen Brunner in Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, p. 149.
Jeffrey Meyers. Modigliani: A Life. Orlando, 2006, pp. 110, 161–62, refutes Klein's [Ref. 2006] argument that this picture expresses Modigliani's Jewish identity.
María Dolores Jiménez-Blanco, ed. Juan Gris: Correspondencia y escritos. Barcelona, 2008, p. 86 n. 105, p. 502.
Christoph Vitali, ed. Amedeo Modigliani: Ein Mythos der Moderne. Exh. cat., Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn. Cologne, 2009, pp. 69, 176, no. 48, ill. (color).

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Beatrice Hastings, 1915

X63448
Beatrice Hastings

1915
on paper, unique
Oil paint on paper
unconfirmed: 400 x 285 mm
Private Collection
Provenance:
André Lefevre (1883–1963), Paris, likely after 1927, acquired directly from the artist [1];
Palais Galliera Paris, 29 November 1966, Lot 107 (auctioneer Etienne Ader);
from whom acquired by the present owner, an anonymous collector.

[1] André Amédée Nicolas Lefèvre was a successful financier and stockbroker who retired in 1927 at the age of forty-four in order to fully devote himself to collecting art and books. His collection was especially strong in Cubism, but he also collected art from Africa and the Pacific Islands.
Lefèvre was advised in his collecting by the owner of Galerie Percier, André Level. He was also friends with Alfred Richet, businessman and another prominent French collector of modern art who would later serve as executor of Lefèvre’s will. Lefèvre purchased works by Fernand Léger and Pablo Picasso from the Daniel-Henry Kahnweiler sequestration sales at Hôtel Drouot in Paris (1921–23), and he also owned works by Georges Braque and Juan Gris.
After Lefèvre’s death, some of the art in his collection was donated to French museums, including the Musée national d’art moderne, Paris, which received around 30 works. More than 400 others were sold at four sales that took place annually between 1964 and 1967 at the Palais Galliera and Hôtel Drouot. Among those pieces were 52 Picassos, 30 Légers, 23 paintings by Gris, and 6 Braques. At the second Léfevre sale held at the Palais Galliera from November 23–25, 1965, Braque’s painting Man with a Guitar (1914) sold for more than 1 million French francs. It was the first Cubist painting to sell for such a price. Additional artists extensively collected by Lefèvre were: André Beaudin, Henri Laurens, André Masson, Henri Matisse, Amadeo Modigliani, and Joan Mirò. The Metropolitan Museum of Art, Index of Historical Collectors and Dealers of Cubism, accessed September 2017.

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: Signed in pencil, not visible to the naked eye, under the pictorial layer, in the lower part, on the left.
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 76

Exhibition history:

[In the Galerie Bernheim June catalogue, 1922, there is a reference to ‘Beatrice Hastings’, no collection name, date, dimensions.]
In the Brussels 1933 catalogue, no. 13, there is a ‘Portrait de Beatrice Hastings 1915’, Col. M. Vriamont, Brussels. No dimensions.
Marseille 1958, no. 4, illustrated ‘Private Collection, Milan’
Paris, Musée National d’Art Moderne, 1964, Ancienne Collection André Lefèvre, Paris, ill. no. 206
Tokyo, Grand Magasin Seibu, 3 May – 19 June 1968.
Kyoto, Musée National d’Art Moderne de Kyoto, 22 June – 4 August 1968
London, Royal Academy of Arts, 30 August – 30 November 1969, French Painting since 1900 from Private Collections in France
Martigny, Fondation Pierre Gianadda, 19 June – 28 October 1990, p.112 ill. no. 39.
Kunsthaus Zürich, Amedeo Modigliani, 19 April – 7 July 1991
Nagoya City Art Museum, 5 April – 1 June 2008, Modigliani
Himeji City Museum of Art, 8 June – 3 August 2008, Modigliani
Iwate Museum of Art, Morioka, 12 August – 5 October 2008, Modigliani, ill. p.57 no. 12
L’Annonciade, Musée de Saint-Tropez, 3 July – 18 October 2010, Amedeo Modigliani : Sans légende
Martigny, Fondation Pierre Gianadda, 10 December 2010 – 13 June 2011, de Renoir à Sam Szafran.Parcours d’un collectionneur, ill. p. 127, no. 56
Martigny, Fondation Pierre Gianadda, « Modigliani et l’école de Paris » (collaboration with Centre Pompidou, Paris), 21 June – 24 November 2013, p. 42–43, ill. p.43

Selected Literature:

Werner Schmalenbach « MODIGLIANI »,
Osvoldo Patani, Amedeo Modigliani, Catalogue Generale, vol. I: Dipinti, Milan, Leonardo, 1991
Amedeo Modigliani, exh.cat. Milan/Geneva, Skira, 1999
Amedeo Modigliani. L’ange au visage grave, cat. Expo. Milan / Geneva, Skira 2002
Modigliani and the Artists of Montparnasse, exh. Cat. 2002
Amedeo Modigliani, exh.cat. Milan/Geneva, Skira, 2006
Editions Prestel, Munich 1990, pour l’Exposition Kunstsammlung Nordrhein-Westfalen du 19 Janvier au 1er Avril 1991 et Kunsthaus
Zurich, du 19 Avril au 7 Juillet 1991, N° 35 Bildnis Beatrice Hastings,
1915, Cat. N° 23, p. 83, illustré en couleurs, Cat. N° 23, p. 20, Bildnis
Beatrice Hastings, 1915, Tafel 35.

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Madam Pompadour, 1915

X63457
Madam Pompadour

1915
painting
Oil paint on canvas
unconfirmed: 611 x 502 mm
The Art Institute of Chicago, Joseph Winterbotham Collection, 1938.217
Provenance:
Paul Guillaume (1891–1934), Paris;
by whom acquired directly from the artist probably by 1916–c. 1929 [Wayne 2002 and Pfannsteil 1929];
Madame Lederlin, Paris, by 1933 [Collection de Madame Lederlin, Galerie Jean Charpentier, March 22–23, 1933, lot. 134];
Valentine-Dudensing Gallery, New York, by December 29, 1937 [letter from Daniel Catton Rich to Joseph Winterbotham, December 29, 1937, in curatorial file];
by whom sold to the Art Institute of Chicago, 1938. Inventory number 1938.217. [1]


[1] Collections listed as ‘Paul Guillaume, Paris; Valentine Dudensing, New York; Koseph Winterbotham, Chicago in Cincinnati 1959 exhibition, catalogue no. 9

Lender’s address: 111 S Michigan Ave, Chicago, IL 60603, USA

Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani, lower right. Inscribed and dated ‘Madam Pompadour 1915’ center left.
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 057

Exhibition history:
Paris, Lyre et Palette, 1re exposition: Kisling, Matisse, Modigliani, Ortiz de Zarate, Picasso, Sculptures négres, November 19–December 5, 1916, no. 13.
Paris, Galerie Paul Guillaume, Exposition peintres d’aujourd’hui, December 15–23, 1918, no. 26.
Art Institute of Chicago, The Winterbotham Collection, May 23–June 22, 1947, p. 31 (ill.).
Dallas Museum of Fine Arts, The Winterbotham Collection of Twentieth-Century European Paintings, October 8–November 6, 1949.
New York, Museum of Modern Art, Modigliani: Paintings, Drawings, Sculpture, April 11–June 10, 1951; travelled to Cleveland Museum of Art, January 30–March 18, 1951, p. 51, not illustrated
Coral Gables, Fla., University of Miami, Joe and Emily Lowe Art Gallery, Nineteenth- and Twentieth-Century French Painting, March 18–April 6, 1952, no. 28; traveled to Athens, University of Georgia, April 14–May 19, 1952.
Palm Beach, Fla., Society of the Four Arts, Amedeo Modigliani 1884–1920, January 8–31, 1954, no. 10; traveled to Coral Gables, Fla., University of Miami, Joe and Emily Lowe Art Gallery, February 11–28, 1954, no. 11.
Houston, Contemporary Arts Museum, Modigliani, April 15–May 23, 1954, no. 5.
Cincinnati Art Museum, Contemporary Arts Center, Amedeo Modigliani, April 18–May 20, 1959, no. 9; traveled to Chicago, Arts Club, January 30–February 28, 1959, and Milwaukee Art Center, March 5–April 1, 1959, no. 9.
Edinburgh, Royal Scottish Academy, Modigliani, August 17–September 16, 1963; traveled to London, Tate Gallery, September 28–November 3, 1963, p. 15, no. 9, pl. 4
Tokyo, Daimaru Museum, Modigliani: Love and Nostalgia for Montparnasse, September 13–October 16, 1979; traveled to Osaka, Daimaru Museum Shinsaibashi, October 25–November 6, 1979, n.p., no. 6 (ill.).
Musée d’Art Moderne de la Ville de Paris, Amedeo Modigliani 1884–1920, March 26–June 28, 1981, p. 115 (ill), no. 26.
Leningrad, Hermitage Museum, Delacroix to Matisse, March 15–May 10, 1988; traveled to Moscow, Pushkin Museum, June 10–July 30, 1988, pp. 48–49 (ill.), no. 49
Dusseldorf, Kunstsammlung Nordrhein-Westfahlen, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, January 19–April 1, 1991; traveled to Zurich, Kunsthaus, April 19–July 21, 1991, pp. 78 (ill.), 220, no. 20, pl. 30.
Paris, Musèe du Luxembourg, Amedeo Modigliani, October 25, 2002–March 2, 2003.
New York, The Jewish Museum, Modigliani, May 21–September 19, 2004; traveled to Toronto, Art Gallery of Ontario, October 23, 2004–January 21, 2005; Washington, D.C., The Phillips Collection, February 19–May 29, 2005.
Moscow, Pushkin State Museum of Fine Arts, Modigliani Mar. 21–June 17, 2007, cat. 28.

Selected Literature:
Paul Guillaume, Les arts à Paris, December 15, 1918, n.p., no. 3.
Arthur Pfannstiel, Modigliani: L'art et la vie (Paris, 1929), p. 7.
Frederick A. Sweet, "Modigliani and Chirico," Bulletin of The Art Institute of Chicago 33, no. 6 (1939), pp. 90–91 (ill.).
Art Institute of Chicago. The Winterbotham Collection (Chicago, 1947), illus. P 31.
Pierre Descargues, Amedeo Modigliani: 1884–1920 (Paris, 1951), p. 14 (ill.).
Gualtieri di San Lazzaro, Modigliani (Paris, 1953), p. 6 (ill.).
Gotthard Jedlicka, Modigliani: 1884–1920 (Zurich, 1953), p. 82, pl. 10, incorrectly identified as Barnes Foundation Collection.
Jacques Lipchitz, Amedeo Modigliani 1884–1920 (New York, 1954), p. 45 (ill.).
Arthur Pfannstiel, Modigliani et son oeuvre (Paris, 1956), pp. 68, 73, no. 43, pl. 11.
Art and Activities 42, no. 2 (October 1957), p. 26 (ill.).
Ambroglio Ceroni, Amedeo Modigliani: Peintre (Milan, 1958), p. 47, no. 42 (ill.).
Art Institute of Chicago, Paintings in the Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago, 1961), pp. 315, 431 (ill.).
André Salmon, Modigliani: A Memoir, trans. by Dorothy and Randolph Weaver (New York, 1961), ill. opp. p. 129.
A. James Speyer, "Twentieth-Century European Paintings and Sculpture," Apollo 84, no. 55 (September 1966), p. 225.Gaston Diehl, Modigliani (New York, 1969), p. 36 (ill.)
R. V. Gindertael, Modigliani e Montparnasse (Milan, 1969), pl. IX.Ambrogio Ceroni and Leone Piccioni, I dipinti di Modigliani, Classici dell’arte 40 (Milan, 1970), no. 57, pl. VIII.J. Lanthemann, Modigliani, 1884–1920: Catalogue raisonné (Barcelona, 1970), pp. 112, 178 (ill.), fig. 74.
William Fifield, Modigliani (New York, 1976), p. 184.Carol Mann, Modigliani (London, 1980), pp. 109–110 (ill.), 212, no. 75, fig. 75.
Bernhard Zurcher, Modigliani (Paris, 1980), no. 10.
Musée Saint-Georges, Modigliani (Liege, Belgium, 1980), fig. 26.
A. James Speyer and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago, 1980), p. 57, pl. 2G12.
Helio Carneiro, "Modigliani: Paris redescobre o gênio maldito," La Manchete (summer 1981), pp. 82–85 (ill.), 87.
Véronique Prat, "Amedeo Modigliani: Justice pour un prince ivrogne," Le Figaro (March 21, 1981), pp. 104, 106 (ill.).
Douglas Hall, Modigliani (Oxford, 1984), fig. 23.
Michel Hoog, Hélène Guicharnaud, and Colette Giraudon, Musée de l’Orangerie: Catalogue de la collection Jean Walter et Paul Guillaume (Paris, 1984), p. 144 (ill.).
National Museum of Modern Art, Tokyo Shimbun, and Chunichi Shimbun, Modigliani (Tokyo, 1985).
Claude Roy, Modigliani, trans. by James Emmons and Stuart Gilbert (New York, 1985), pp. 42 (ill.), 155.
Art Institute of Chicago, The Joseph Winterbotham Collection: A Living Tradition (Chicago, 1986), pp. 30 (ill.), 58, 63.
Thérèse Castieau-Barreille, La vie et l’oeuvre de Amedeo Modigliani (Paris, 1987), p. 131 (ill.).
Christian Parisot, Modigliani (Livorno, 1988), ill. opp. p. 130.Christian Parisot, Modigliani: Catalogue raisonné, vol. 2 (Livorno, 1991), pp. 79 (ill.), 281.
Osvaldo Patani, Amedeo Modigliani: Catalogo generale, vol. 1 (Milan, 1991), p. 89 (ill.).
Schmalenburg, Werner. Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen (Munich, 1991), p. 20.
Bennett Shiff, "A Line as Clear and Tensile as a Lightning Flash," Smithsonian 24, no. 10 (January 1994), pp. 64–73, 65 (ill.).
Anette Kruszynski, Amedeo Modigliani: Portraits and Nudes (Munich/New York, 1996), pp. 54, 59, 119 (ill.).
Kenneth Wayne, Modigliani and the Artists of Montparnasse, exh. cat. (New York, 2002), pp. 65, 67 (ill.), 69, 202–203.
Irina Antonova, Modigliani, exh. cat. (Krasnaja Ploscad', 2007), pp. 52; 53, cat. 28 (color ill.).


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Head, c.1915

X63461
Head

c.1915
sculpture
Limestone
unconfirmed: 565 x 127 x 374 mm
The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller in memory of Mrs. Cornelius J. Sullivan, 1939
Provenance:
The artist;
Leopold Zborowski (1889-1932), Paris, probably acquired from the artist*;
Unknown private collection, London]*;
By 1937 - 1939, Mary Quinn Sullivan (1877-1939), New York.**;
1939, The Museum of Modern Art, New York, purchased from Mary Quinn Sullivan through Abby Aldrich Rockefeller.

* Per Osvaldo Patani, Amedeo Modigliani, Milan: Leonardo 1992, no. 15. Not based on direct documentation thus the parenthesis.
** See exhibition announcement in Art Digest, vol. 12, no. 5 (December 1st, 1937), p. 20: "In the realm of modern art, nothing is quite so rare as a Modigliani stone head … So it is with special interest that devotees of the Modern French await the coming exhibition (Dec. 6 to 23) at the galleries of Mrs. Cornelius J. Sullivan, New York, which will contain two of these rarities." MoMA's sculpture is reproduced.
Included in the exhibition Art in Our Time, New York: The Museum of Modern Art, May 10-September 30, 1939 (lent by "Mrs. Cornelius J. Sullivan").

Lender’s address: 11 W 53rd St, New York, NY 10019, USA

Nationality of artist: Italian
Identifying marks: none
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Modigliani. Dessins, Sculptures. Milan: Edizioni del Milione, 1965. No. XXIII


Exhibition history:
MoMA Exh. #85: "Art in our Time: 10th Anniversary Exhibitions: Painting, Sculpture, Prints", May 10 - September 30, 1939
MoMA Exh. #94: "Painting and Sculpture from the Museum Collection", January 13 - March 3, 1940
MoMA Exh. #102: "New Acquisitions: A Gift of Modern Sculpture", March 6 - April 7, 1940 (acquisition announced)
MoMA Exh. #110: "Painting and Sculpture from the Museum Collection", October 23, 1940 - January 12, 1941
MoMA Exh. #127: "Painting and Sculpture from the Museum Collection", May 6 - June 30, 1941
MoMA Exh. #266: "Painting, Sculpture, Graphic Arts from the Museum Collection", November 15, 1944 - May 20, 1945
MoMA Exh. #290: "The Museum Collection of Painting and Sculpture", 1st floor, June 20, 1945 - January 13, 1946
MoMA Exh. #324: "Painting, Sculpture, and Graphic Art from the Museum Collection", July 2, 1946 - November 8, 1948; August 31, 1950 - January 5, 1951; June 28, 1951 - September 13, 1954
MoMA Exh. #393: "Timeless Aspects of Modern Art", November 16, 1948 - January 23, 1949
MoMA Exh. #413: "Twentieth Century Italian Art", June 28 - September 18, 1949
MoMA Exh. #324
Cleveland Museum of Art, "Modigliani-Soutine", January 30 - March 18, 1951
MoMA Exh. #474: "Modigliani", April 10 - June 10, 1951
MoMA Exh. #324
MoMA Exh. #732: "Art in a Changing World: 1884-1964: Painting and Sculpture from the Museum Collection", II-6, May 27, 1964 - July 1971?
MoMA Exh. #974: "Ways of Looking", July 28 - November 1, 1971
MoMA Exh. #909: "Painting and Sculpture from the Museum Collection", III-Sculpture Galleries, November 24, 1971 - December 11, 1972
MoMA Exh. #1002: "The Painting and Sculpture Collection: A New Perspective", II, December 15, 1972 - November 14, 1979; II-14, November 28, 1979 - April 21, 1980
MoMA Exh. #1293: "Reinstallation of the Collection", II-14, February 7, 1981 - January 3, 1982
MoMA Exh. #1372: "Selections from the Permanent Collection: Painting and Sculpture", II-16B, May 17 - January 11, 1985; II-22, November 6, 1985 - removed June 27, 1989
MoMA Exh. #1382: "'Primitivism' in 20th Century Art: Affinity of the Tribal and the Modern" tour:
Detroit Institute of Arts, February 23 - May 19, 1985
Dallas Museum of Fine Arts, June 15 - September 8, 1985
MoMA Exh. #1372
MoMA Exh. #1656: "Selections from the Permanent Collection of Painting and Sculpture", II-ST, September 11, 1993 - January 12, 1996; May 10, 1996 - ?
MoMA Exh. #1836A: "MoMA2000, ModernStarts: People, Language of the Body", October 7, 1999 - February 1, 2000
Tokyo, Ueno Royal Museum, "Masterworks from The Museum of Modern Art, 1900-1955", October 6, 2001 - February 3, 2002
Buffalo, Albright-Knox Art Gallery, "Modigliani and the Artists of Montparnasse", October 18, 2002 - January 12, 2003
Houston, The Museum of Fine Arts, "The Heroic Century: The Museum of Modern Art's Masterpieces, 200 Paintings and Sculptures", September 21, 2003 - January 4, 2004 and tour:
Berlin, Neue Nationalgalerie, "MoMA in Berlin: Masterworks from The Museum of Modern Art", February 18 - September 19, 2004
MoMA Exh. #2345B: "Painting and Sculpture Changes 2016", 5th Floor, gallery 7, added October 18, 2016 - February 1, 2017


Selected Literature:
Repr. PASITMOMA, p. 113; Sc. of 20th C., p. 115; MoMA: Hist. and Coll., p. 75; "Primitivism," p. 420
Joseph Lanthemann, Modigliani: Catalogue Raisonné (Montreux: Jornod, 1970 / Barcelona: Condal, 1970), sous responsabilité de Mme Jeanne Modigliani, fille unique et légatrice universelle des droits de l'artiste (d. Juillet 1984), p. 143, no. 637: Tête de femme (aux grands yeux), 1912; pierre de Paris, 56 cm de haut. MoMA, NY. Repro p. 318, no. 637.
Osvaldo Patani, Amedeo Modigliani, Catalogo Generale, Sculture e Disegni, 1909 – 1914 Leonardo, 1992, no. 15: Testa, 1911-12, pietra arenaria, 56,5 x 12,7 x 37,4 cm. Provenienza: Leopold Zborowski, Parigi; collezione privata, Londra
Art Digest, vol. XII, no. 5, December 1st, 1937, p. 20, with repro
Kenneth Wayne, Modigliani & the artists of Montparnasse (exh.cat). Buffalo, New York: Harry N. Abrams, inc. publishers in association with the Albright-Knox Gallery, 2002. No. 55: Head, c.1915, p.130, ill.
Bernard Schuster, Modigliani. A Study of his Sculpture. Jacksonville FL: Namega Corporation, 1986. No. XXIII Tête, p.56, ill. p. 78
Gabriella Belli (ed.), Modigliani Sculptor (exh.cat). Rovereto: Museo di Arte Moderna e Contemporanea, 2010. XXIII p. 120, ill. p. 121
Ambrogio Ceroni, Amedeo Modigliani, Dessins et Sculptures. Milan: Edizioni di Milione, 1965. As: Tête (sculpture XXIII), ill. 96 and 97.
Modigliani Sculptor (exh.cat). Rovereto: Museo di Arte Moderna e Contemporanea di Trento a Rovereto, 2010. No. XXIII, p. 120, ill.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Portrait of Paul Guillaume, Novo Pilota, 1915

X63510
Portrait of Paul Guillaume, Novo Pilota

1915
painting
Oil paint on card mounted on cradled plywood
frame: 1235 x 925 x 100 mm unconfirmed: 1050 x 750 mm
Paris, Musée de l'Orangerie, collection Jean Walter et Paul Guillaume
Provenance:
Paul Guillaume (d.1934), acquired directly from the artist [1];
Domenica Walter [2], donated in 1960 to: The Jean Walter and Paul Guillaume collection, Musée de l’Orangerie, Paris.

[1] Pfannstiel 1929
[2] Domenica Walter (1898-1977) was Guillaume’s wife.
Lender’s address: Jardin Tuileries, 75001 Paris, France

Nationality of artist: Italian
Identifying marks: Inscription, upper left, on two lines: PAUL GUILLAUME; top right, a star of David and below: STELLA MARIS, highlighted with two intertwined curved lines, on two lines in green paint mixed with white: NOVO PILOTA, lower right, a drawing of a swastika between the signature and date.
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 100

Exhibition history:
Trente d'art indépendant (1884-1914) : Paris (France), Galeries nationales du Grand Palais, 21 February 1926-21 March 1926
Peintres instinctifs : naissance de l'expressionnisme : Paris (France), La Gazette des Beaux-Arts, December 1935-January 1936
Les Maîtres de l'art indépendant 1895-1937 : Paris (France), Petit Palais - Musée des Beaux-Arts de la Ville de Paris, June 1937-October 1937
Modigliani 1884-1920 : peintures : Paris (France), Galerie de France, 21 December 1945-31 January 1946
Cent tableaux de Modigliani : Paris (France), Galerie Charpentier, 1958-1958, no.25.
Modigliani : Marseille (France), Musée Cantini, 10 June 1958-27 July 1958, no.8.
Chefs-d'oeuvre de collections françaises (Dix-neuvième - vingtième siècle) : Paris (France), Galerie Charpentier, 1962
Collection Jean Walter-Paul Guillaume : Paris (France), Musée de l'Orangerie, 21 January 1966-05 September 1966, no. 122.
Tentoonstelling : Bateau-Lavoir : Gand (Belgique), Museum voor Schone Kunsten, 06 October 1978-13 November 1978
Amedeo Modigliani 1884 -1920 : Paris (France), Musée d'art moderne de la Ville de Paris, 26 March 1981-28 June 1981, no.93.
Arts à Paris chez Paul Guillaume (1918-1935) : Paris (France), Musée de l'Orangerie, 14 September 1993-03 January 1994
Chefs-d'oeuvres du musée de l'Orangerie : collection Jean Walter et Paul Guillaume : Tokyo (Japan), Bunkamura Museum of Art, 14 November 1998-14 February 1999 // Nagoya (Japan), Nagoya City Art Museum, 23 February 1999-07 April 1999 // Hiroshima (Japan), Hiroshima Prefectural Art Museum, 17 April 1999-27 June 1999 // Niigata (Japan), Niigata City Art Museum, 10 July 1999-12 September 1999 // Kyoto (Japan), National Museum of Modern Art, 21 September 1999-14 November 1999
Chefs-d'oeuvre du musée de l'Orangerie : collection Jean Walter et Paul Guillaume : Taïpei (Taiwan), Taïpei Fine Arts Museum, 04 December 1999-01 March 2000 // Kaohsiung (Taiwan), Kaohsiung Museum of Fine Arts, 11 March 2000-23 April 2000
De Renoir à Picasso : chefs-d'oeuvre du musée de l'Orangerie : Montréal (Canada), Musée des Beaux-Arts, 01 June 2000-15 October 2000 // Fort Worth (US), Kimbell Art Museum, 12 November 2000-25 February 2001
Renoir to Picasso : Masterpieces from the Musée de l'Orangerie : Brisbane (Australia), Queensland Art Gallery, 29 March 2001-20 May 2001 // Sydney (Australia), Art Gallery of New South Wales, 01 June 2001-30 July 2001 // Melbourne (Australia), National Gallery of Victoria, 10 August 2001-30 September 2001
De Renoir a Picasso : Obres mestres del Musée de l'Orangerie, Paris : Barcelona (Spain), CaixaForum, 11 April 2002-30 June 2002
Modigliani : l'ange au visage grave : Paris (France), Musée du Luxembourg, 23 October 2002-03 March 2003, no.43.
Modigliani :Beyond the Myth : New York (US), Jewish Museum, 21 May 2004-19 September 2004
Modigliani, Ein Mythos der Moderne. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland. Bonn, 17 April – 30 August 2009. No. 57.
Chefs d'oeuvres du musée de l'Orangerie : Mexico, Museo Dolores Olmedo Patino, 18 October 2013-23 January 2014
Modigliani et ses amis : Parigi 1906-1920 : Pisa (Italy), Palazzo Blu, 3 October 2014-15 February 2015
Amedeo Modigliani : l'oeil intérieur : Lille (France), LaM, Lille Métropole Musée d'art Moderne, d'art contemporain et d'art brut, 27 February-5 June 2016
Modigliani : Budapest (Hungary) Modigliani : Szépmuveszeti Museum, 28 June-2 October 2016.

Selected literature:
Les Arts à Paris : actualités critiques et littéraires des arts et de la curiosité. - 1925/10. n° 11, octobre 1925, p. 13, repr. p. 13 [""Novo Pilota""]
George (Waldemar). - "Trente ans d'Art indépendant" in L' Amour de l'art. - 1926/01, s.n., mentionné p. 94 ["Portrait de Mr. Paul Guillaume"]
Trente d'art indépendant (1884-1914) (Cat. Exp. 1926, Paris, Grand Palais), n° 3102 (cat. p. 197 ["Portrait de Paul Guillaume", "Appartient à M. Paul Guillaume"])
Dale (Maud). - Modern Art : Modigliani. - New York (États-Unis) : Alfred A. Knopf, 1929, repr. pl. 28 ["Portrait de M. Paul Guillaume", "Collection Paul Guillaume"]
Pfannstiel (Arthur). - Modigliani. - Paris : Marcel Seheur, 1929, p. 7 du cat. ["Portrait de M. Paul Guillaume", "Paris col. Paul Guillaume"]
George (Waldemar). - La Grande Peinture contemporaine à la collection Paul Guillaume. - Paris : Ed. des Arts à Paris, 1929, p. 142, repr. p. 139 ["Novo Pilota (Portrait de Paul Guillaume)", "collection Paul Guillaume"]
George (Waldemar). - "La grande peinture contemporaine à la collection Paul Guillaume" in La Renaissance. - 1929/04, repr. p. 184 [""Novo Pilota" Portrait de Paul Guillaume", "collection Paul Guillaume"]
Edouard-Joseph (René). - Dictionnaire biographique des artistes contemporains. 1910-1930 : 4 volumes. - Paris : Art et édition, 1930, s.n., tome III, repr. p. 30 ["Portrait de Paul Guillaume "Novo Pilota"", "Coll. Paul Guillaume"]
Basler (Adolphe). - Modigliani. - Paris : Crès, 1931, n° 6, repr. n.p. ["Novo Pilota. Portrait de Paul-Guillaume", "Collection Paul-Guillaume"]
-Franck (Nino). - "Coup d'oeil sur la peinture italienne d'hier et d'aujourd'hui" in Cahiers de Belgique. - 1931/04, repr. p. 172 [""Nova Pilota" Portrait de Paul Guillaume", "coll. Paul Guillaume, Paris"]
Heilmaier (Hans). - "Die Sammlung Paul Guillaume" in Deutsche Kunst und Decoration. - 1931/08/11, repr. p. [268] ["Bildnis Paul Guillaume", "Paul Guillaume"]
Warnod (André). - "Chez le collectionneur Paul Guillaume" in Conferencia. - 1931/10/05, repr. p. 403 ["M. Paul Guillaume", "Paul Guillaume"]
Peintres instinctifs : naissance de l'expressionnisme (cat. exp. 1935-36, Paris, exposition de "Beaux-Arts" et de "La Gazette des Beaux-Arts"). – 1935, n° 59 (cat. n.p. ["Portrait de Paul Guillaume, Novo Pilota", "Collection Paul Guillaume"])
Les Maîtres de l'art indépendant (cat.exp. 1937, Paris, Petit Palais). – 1937, n° 70 (cat. p. 78 ["Portrait de Paul Guillaume", "A Mme Paul Guillaume"])
Modigliani 1884-1920 : peintures (cat. exp. 1945-46, Paris, Galerie de France). – 1945, n° 2, cat. p. 29
Lassaigne (Jacques). - Cent chefs-d'oeuvre des peintres de l'Ecole de Paris. - Paris : Galerie Charpentier, 1947, repr. p. 86 ["Paysage de Provence", "Collection particulière"]
Di San Lazzaro (Gualtieri). - Modigliani : peintures. - Paris : Ed. du Chene, 1947, repr. coul. pl. I ["Portrait de Paul Guillaume", "Collection particulière"]
Descargues (Pierre). - Amadeo Modigliani. - Paris : Braun, 1951, repr. pl. 26 ["Portrait de Paul Guillaume", "Photo Paul Guillaume"]
Pfannstiel (Arthur). - Modigliani et son oeuvre : étude critique et catalogue raisonné. - Paris : La Bibliothèque des Arts, 1956, n° 40, p. 67 ["Portrait de Paul Guillaume", "Bernheim Jeune, mai-juin 1929, Paris. [Collection Mme Walter, Paris."]
Ceroni (Ambrogio). - Amedeo Modigliani peintre, suivi des "Souvenirs" de Lunia Czechowska. - Milan (Italie) : Edizioni Del Milione, 1958, n° 55, p. 49, repr. pl. 55 ["Paul Guillaume Novo Pilota", "Coll. privée, Paris"]
Roy (Claude). - Modigliani. - Genève (Suisse) : Albert Skira, 1958, s.n., mentionné p. 78 ["Portrait de Paul Guillaume"]
Modigliani (cat. exp. 1958, Marseille, Musée Cantini). – 1958, n° 8, cat. n.p., repr.
Cent tableaux de Modigliani [cat. expo. 1958, Paris, Charpentier]. – 1958, n° 25 (cat. n.p., repr. [""Novo Pilota" Portrait de Monsieur Paul Guillaume", "Collection particulière"])
Gatard (Marie). - "Par son premier mari, Paul Guillaume, Domenica est aussi toute la peinture moderne" < Paris Match >, n° 513. – 1959, repr. ["Domenica Walter"]
Chefs-d'oeuvre de collections françaises (Dix-neuvième - vingtième siècle) (cat. exp. 1962, Paris, Charpentier). – 1962, n° 51, cat. n.p., repr. n.p.
Lejeune (Emile). - "Montparnasse et l'époque héroïque" in La Tribune de Genève. - 1964/02/08
Bouret (Jean). - "L' Eblouissante collection Walter" in Réalités , n° 239. - 1965/12, p. 84 et 94
Allemand (Geneviève), Bundorf (Michèle) et Lemoyne de Forges (Marie-Thérèse). - Collection Jean Walter-Paul-Guillaume : catalogue. - Paris : Réunion des musées nationaux, 1966 - n° 122, p. 259, repr. p. 258
Schurr (Gérald). - "La collection Paul Guillaume-Jean Walter. Un investissement unique" in La Galerie des Arts, n°36. – 1966, n° 1, p. 52, repr.
Jacob (Max). - "Apologie de Paul Guillaume" in Les Lettres françaises , 20-26 janvier. – 1966, repr. d'un détail
Orangerie des Tuileries. - Collection Jean Walter-Paul Guillaume : Album d'illustrations ( accompagne l'exposition Paris, Orangerie des Tuileries, 1966). - Paris : Réunion des musées nationaux, 1966, n°122, repr. n. p.
Bouret (Jean). - "Prélude à l'Orangerie" in Les Lettres françaises. - 1966/01/06, p. 16, repr. (Nuovo Pilota (Portrait de Paul Guillaume))
Rheims (Maurice). - "Les secrets de la fabuleuse collection qu'elle donne au Louvre" in Elle. - 1966/01/31, mentionné p. 60, repr.
Colin (Marianne). - Terre retrouvée. - 1966/03/15
Cachin (Françoise). - "A Dandy at the Helm" in Art News. - 1966/04, p. 36, repr.
Imaizumi (Atsuo). - Modigliani : exp. : 1968, Kyoto, Grand magasin Seibu-Kyoto, Musée d'art moderne. - Japon : Yomiuri Shimbun, 1968
- Zadkine (Osip). - Le Maillet et le ciseau. - Paris : Albin Michel, 1968, p.92
Crespelle (Jean-Paul). - < La Folle époque : des ballets russes au Surréalisme >. - Paris : Hachette, 1968, repr. fig. 75, p. 265
Crespelle (Jean-Paul). - Modigliani. Les femmes, les amis, l'oeuvre. - Paris : Presses de la cité, 1969, p. 198-202, repr. pl. h.t.
Hoog (Michel). - Peinture moderne. - Paris : Hachette, 1969, p. 225, repr. coul. (Portrait de Paul Guillaume Collection Mme Walter, Paris)
Lanthemann (Josef). - Modigliani : catalogue raisonné. - Barcelone (Espagne) : Graficas Condal, 1970, n° 110, p. 114, repr. p. 187 ["Paul Guillaume (Novo Pilota.)"]
Cachin (Françoise) et Ceroni (Ambrogio). - Tout l'oeuvre peint de Modigliani. - Paris : Flammarion, 1972, n° 100, p. 92, repr. p. 92 ["Portrait de Paul Guillaume "Novo Pilota"", "Paris Musées Nationaux, donation Jean Walter-Paul Guillaume"]
Van Gindertael (Roger). - Modigliani et Montparnasse. - Paris : Editions Tête de feuille, 1976, mentionné p. 12,15, repr. coul. pl. p. 21 (Paul Guillaume, Nova Pilota)
Lanthemann (Josef) et Parisot (Christian). - < Modigliani inconnu : suivi de précisions et documents inédits >, Brescia, 1978. - Brescia (Italie) : Shakespeare &amp; Company, 1978, p. 58, repr.
Warnod (Jeanine). - La Ruche &amp; Montparnasse. - Paris : Weber, 1978, repr. p. 76
Gosling (Nigel). - < Paris 1900-1914 : the Miraculous Years >. - Londres (Royaume-Uni) : Weidenfeld and Nicolson, 1978, p. 235, repr.
Hoozee (Robert) et Warnod (Jeanine). - Tentoonstelling : Bateau-Lavoir [cat. expo 1978, Gand, Museum voor Schone Kunsten]. – 1978, n° 52 (cat. p. 51, repr. 50)
Zürcher (Bernard). - < Modigliani >. - Paris : Fernand Hazan, 1980, p. 17-18
Contensou (Bernadette), Le Clézio (J. M. G.) et Marchesseau (Daniel). - Amedeo Modigliani (1884-1920) : [cat. exp. : 1981, Paris, MAMVP]. - Paris : Musée d'art moderne de la ville de Paris, 1981, n° 93, p. 40-41, repr. 165
Negri (Rénata), Carluccio (Luigi) et Leymarie (Jean). - < Ecole de Paris >. - Paris : Rive Gauche, 1981, p. 214 ("novo pilota")
Lanthemann (Josef). - < Soutine : catalogue raisonné de l'oeuvre dessinée >. - Monaco : Edition Le Point, 1981, p. 31, repr.
Lassaigne (Jacques). - < Tout Modigliani. La peinture >. - Paris : Flammarion, 1982, p. 30, repr., p. 32
Hall (Douglas). - < Modigliani >. - Londres (Royaume-Uni) : Phaidon, 1984 p. 76, repr. fig. 25
Castieau-Barrielle (Thérèse). - La Vie et l'oeuvre de Modigliani. - Courbevoie : 5 Continents Editions, 1987, p. 110, repr. p. 111 (Portrait de Paul Guillaume "Novo Pilota" Musées Nationaux, donation Jean Walter. Paul Guillaume)
Hoog (Michel), Giraudon (Colette) et Guicharnaud (Hélène). - Musée de l'Orangerie : catalogue de la collection Jean Walter et Paul Guillaume, 3ème éd. revue et mise à jour [1ère éd. 1984]. - Paris : Réunion des musées nationaux, 1990, n° 61, p. 142, repr. coul. p. 143 (Paul Guillaume, Novo Pilota)
Schmalenbach (Werner). - Modigliani : Malerei, Skulpturen, Zeichnungen : cat. exp. : 1991, Düsseldorf / Zürich. - Munich (Allemagne) : Prestel, 1991, n° 31, p. 31, 40 p. 220, repr. coul. pl. 36, p.84
Christian Parisot. < Modigliani. Catalogue raisonné. Tome II >, Florence, Editions Graphis Arte, 1991Parisot, 1991, n° 38/1915, t. II, p. 287 ["Portrait de Paul Guillaume (Novo Pilota)", "Paris Musée de l'Orangerie"]
Breuille (Jean-Philippe). - L' Art du XXe siècle : dictionnaire de peinture et de sculpture. - Paris : Larousse, 1992, p. 573 (Portrait de Paul Guillaume)
Giraudon (Colette). - Les arts à Paris chez Paul Guillaume : 1918-1935 [cat. exp. : 1993-94, Paris, musée de l'Orangerie]. - Paris : Réunion des musées nationaux, 1993, n° 1, p. 50, repr. 50; mentionné p. 30, repr. coul. p. 31
Giraudon (Colette). - Paul Guillaume et les peintres du XXe siècle : de l'art nègre à l'avant-garde. - Paris : La Bibliothèque des arts, 1993, p. 30, repr. coul. p. 31
Szalay Miklos [dir.]. < Afrikanische Kunst aus der Sammlung Han Coray : 1916-1928 > [cat. exp. : 1995-96 Zürich / Baden Baden], München, Prestel, 1995
Golan (Romy). - Modernity &amp; Nostalgia: Art and Politics in France Between The Wars. - New Haven (États-Unis) : Yale University Press, 1995, p. 138 et mentionné p. 224, repr. p. 138
Jean-Luc Chalumeau. < Modigliani >, Paris, Cercle d'art, 1997
Chalumeau, 1997, p. 42 p. 62, repr. coul. fig. 12 p. 41 (Portrait de Paul Guillaume)
Georgel (Pierre), Kijima (Shunsuke) et Nagai (Takanori). - Chefs-d'oeuvre du musée de l'Orangerie : collection Jean Walter et Paul Guillaume : cat. exp. : 1998-99, Tokyo / Nagoya / Hiroshima / Niigata / Kyoto. - Tokyo : NTV, 1998, n° 72, p. 168, 217, repr. coul. p. [169]
Georgel (Pierre) et Peng (Chang-Ming). - Chefs-d'oeuvre du musée de l'Orangerie : collection Jean Walter et Paul Guillaume.. - Taïpei : China Times, 1999. - 247 p. ; 27 cm, n° 72, p. 202, repr. coul. 203
Georgel (Pierre) et Labiau (Jean-Pierre). - De Renoir à Picasso : chefs d'oeuvre du musée de l'Orangerie [cat. exp. : 2000-01, Montréal / Fort Worth]. - Montréal (Canada) : Musée des Beaux-Arts, 2000. - 279 p. ; 30 cm, p. 20, 71
Restellini (Marc), Munck (Jacqueline) et Schmalenbach (Werner). - Modigliani : l'ange au visage grave [cat. exp. : 2002-03, Paris, musée du Luxembourg]. - Milan (Italie) : Skira, 2002, n° 43, p. 234, repr. coul. p. 235
Daguerre de Hureaux (Alain). - Cézanne: quatorze chefs-d'oeuvre du musée de l'Orangerie [cat. exp. : 2003-04, Toulouse, Musée des Augustins]. - Toulouse : Musée des Augustins, 2003, repr. coul. p. 11
Klein (Mason), Berger (Maurice) et Braun (Emily). - Modigliani : Beyond the Myth [cat. exp. : 2004, New York, The Jewish museum]. - New York (États-Unis) : The Jewish Museum, 2004/05/11. (cat. p. 204, repr. coul. pl. 39)
Georgel (Pierre), Rossi (Francesco) et Valagussa (Giovanni). - Cézanne Renoir : 30 capolavori dal Musée de l'Orangerie. I"classici" dell 'Impressionismo dalla collezione Paul Guillaume : [cat. exp. : 2005, Bergame, Academia Carrara]. - Milan (Italie) : Skira, 2005, p. 23, 24, repr. p. 22
Kenneth E. Silver, Simonetta Fraquelli, Kenneth Wayne et al. < Modigliani and his Models >, Londres, Royal Academy of Arts, 2006
Silver, Fraquelli, Wayne [et al.], 2006, p. 149
Dufour (Philippe), Lesage (Caroline) et Wat (Pierre). - ""Le Musée de l'Orangerie"" in Beaux Arts Magazine. – 2006, p. [52], repr. coul.
Von der Weid (Jean-Noël). - Musée de l'Orangerie : guide de visite. - Artlys, 2006, p. 48, repr. coul. p. 48 et 46
Kruszynski (Anette). - Amadeo Modigliani : Nudes and Portraits. - Munich (Allemagne) : Prestel, 2007, p. 46, repr. coul. 48
Vitali (Christoph). - Amedeo Modigliani : ein Mythos der Moderne. - Cologne (Allemagne) : DuMont, 2009, n° 57, p. 76, repr. coul. p. 78, 177
Christoph Vitali [dir.]. < Amedeo Modigliani : ein Mythos der Moderne >, Köln, DuMont, 2009
Vitali, 2009, n° 57, p. 76, repr. coul. p. 78, 177
Obras Maestras del Musée de l'Orangerie. - Mexico (Mexique) : Museo Dolores Olmedo, 2013, Cat. 13, p. 80, pl. coul. p. 81
Bouhours (Jean-Michel).- Modigliani et ses amis : Parigi 1906-1920 - Milan (Italie) : Skira, 2014, p. 162, pl. coul. p. 163
Lévy (Sophie). - Amedeo Modigliani : l'oeil intérieur [cat. Exp. 2016,Lille, LaM, Lille Métropole Musée d'art Moderne, d'art contemporain et d'art brut].- Paris : Gallimard, 2016, N° 71, pl. coul.
Modigliani. - Budapest (Hongrie) : Szépmuveszeti Museum, 2016, Cat. 50, pl. coul. p. [121]


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Woman with Velvet Ribbon, 1915

X63513
Woman with Velvet Ribbon

1915
painting
Oil paint on card mounted on cradled plywood
unconfirmed: 540 x 455 mm unconfirmed, frame: 720 x 630 x 65 mm
Paris, Musée de l'Orangerie, collection Jean Walter et Paul Guillaume
Provenance:
Paul Guillaume (d. 1934), acquired directly from the artist [1];
Domenica Walter [2], donated in 1960 to:
The Jean Walter and Paul Guillaume collection, Musée de l’Orangerie, Paris.
[1] The work appears in Paul Guillaume’s photographic archives as no. 328.
[2] Domenica Walter (1898-1977) was Guillaume’s wife.

Lender’s address: Jardin Tuileries, 75001 Paris, France

Nationality of artist: Italian
Identifying marks: signed 'Modigliani', bottom left.
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 63

Exhibition history:
Exposition de Peinture moderne : Paris, Galerie Devambez, 27 January 1920-12 February 1920
Collection particulière de M. Paul Guillaume : Paris, Galerie Bernheim-Jeune, 25 May 1929-1929
Modigliani. Negro Art : Édimbourg, Charlotte Square, 01 November 1937-20 November 1937
Cent tableaux de Modigliani : Paris, Galerie Charpentier, 1958-1958
Collection Jean Walter-Paul Guillaume : Paris, Musée de l'Orangerie, 21 January 1966-05 September 1966
Impressionnistes et Post-Impressionnistes des musées français: de Manet à Matisse : Tbilisi, Musée des Beaux-Arts de Tbilissi, 10 June 1981-26 July 1981 // Leningrad, Musée de l'Ermitage, 11 August 1981-20 September 1981
Chefs-d'oeuvres du musée de l'Orangerie : collection Jean Walter et Paul Guillaume : Tokyo, Bunkamura Museum of Art, 14 November 1998-14 February 1999 // Nagoya, Nagoya City Art Museum, 23 February 1999-07 April 1999 // Hiroshima, Hiroshima Prefectural Art Museum, 17 April 1999-27 June 1999 // Niigata, Niigata City Art Museum, 10 July 1999-12 September 1999 // Kyoto, National Museum of Modern Art, 21 September 1999-14 November 1999
Chefs-d'oeuvre du musée de l'Orangerie : collection Jean Walter et Paul Guillaume : Taïpei, Taïpei Fine Arts Museum, 04 December 1999-01 March 2000 // Kaohsiung, Kaohsiung Museum of Fine Arts, 11 March 2000-23 April 2000
De Renoir à Picasso : chefs-d'oeuvre du musée de l'Orangerie : Montréal, Musée des Beaux-Arts, 01 June 2000-15 October 2000 // Fort Worth, Kimbell Art Museum, 12 November 2000-25 February 2001
Renoir to Picasso : Masterpieces from the Musée de l'Orangerie : Brisbane, Queensland Art Gallery, 29 March 2001-20 May 2001 // Sydney, Art Gallery of New South Wales, 01 June 2001-30 July 2001 // Melbourne, National Gallery of Victoria, 10 August 2001-30 September 2001
De Renoir a Picasso : Obres mestres del Musée de l'Orangerie, Paris : Barcelone, CaixaForum, 11 April 2002-30 June 2002
Modigliani : l'ange au visage grave : Paris, Musée du Luxembourg, 23 October 2002-03 March 2003
Il mistico profano, omaggio a Modigliani : Gallarate, Galleria d'Arte Moderna di Gallarate, 19 March 2010-19 June 2010
Chefs d'oeuvres du musée de l'Orangerie : Mexico, Museo Dolores Olmedo Patino, 18 October 2013-23 January 2014
Modigliani et ses amis : Parigi 1906-1920) : Pisa, Palazzo blu, 3 October 2014-15 February 2015
Amedeo Modigliani : l'oeil intérieur : Lille, LaM, Lille Métropole Musée d'art Moderne, d'art contemporain et d'art brut, 27 February-5 June 2016
Modigliani : Budapest, Szépmuveszeti Museum, 28 June-2 October 2016
Amedeo Modigliani : Helsinki, Ateneum, Kansallisgalleria, 28 November 2016-05 February 2017

Literature:
Exposition de Peinture moderne [cat. expo. 1920, Paris, Devambez]. – 1920, n° 59 (cat. n.p. ["Le Liseré noir"])
Pfannstiel (Arthur). - Modigliani. - Paris : Marcel Seheur, 1929, p. 32 du cat. ["Le Liseré noir", "Paris col. Paul Guillaume"]
George (Waldemar). - La Grande Peinture contemporaine à la collection Paul Guillaume. - Paris : Ed. des Arts à Paris, 1929, repr. p. 145 ["Le liseré noir", "collection Paul Guillaume"]
Collection particulière de M. Paul Guillaume [cat. expo. 1929, Paris, Bernheim-Jeune]. - 1929
Modigliani . Negro Art [cat. expo. 1937, Edimbourg, Charlotte Square]. – 1937, n° 1 (cat. p. 10, repr. p. [4] ["Le liseré noir", "Mme Paul Guillaume collection.Lent by the Storran Gallery"])
Pfannstiel (Arthur). - Modigliani et son oeuvre : étude critique et catalogue raisonné. - Paris : La Bibliothèque des Arts, 1956, n° 196, p. 119-120 ["Le Liseré noir", "Bruxelles (Belgique), Collection Mlle M. "]
Ceroni (Ambrogio). - Amedeo Modigliani peintre, suivi des "Souvenirs" de Lunia Czechowska. - Milan (Italie) : Edizioni Del Milione, 1958, n° 41, p. 47, repr. pl. 41 ["Tête de femme (au ruban noir)", "Coll. privée, Paris"]
Cent tableaux de Modigliani [cat. expo. 1958, Paris, Charpentier]. – 1958, n° 26 (cat. n.p., repr. ["Femme au ruban", "Collection particulière"])
Allemand (Geneviève), Bundorf (Michèle) et Lemoyne de Forges (Marie-Thérèse). Collection Jean Walter-Paul-Guillaume : catalogue. - Paris : Réunion des musées nationaux, 1966, n° 121, p. 257, repr. p. 256
Orangerie des Tuileries. - Collection Jean Walter-Paul Guillaume : Album d'illustrations ( accompagne l'exposition Paris, Orangerie des Tuileries, 1966). - Paris : Réunion des musées nationaux, 1966, n°121, repr. n. p.
Imaizumi (Atsuo). - Modigliani : exp. : 1968, Kyoto, Grand magasin Seibu-Kyoto, Musée d'art moderne. - Japon : Yomiuri Shimbun, 1968, n° 13, n.p., repr. coul. n.p.
Lanthemann (Josef). - Modigliani : catalogue raisonné. - Barcelone (Espagne) : Graficas Condal, 1970, n° 103, p. 114, repr. p. 186 ["La Femme au ruban de velours, dite "L'Arlésienne"", "Musée du Louvre, Paris"]
Cachin (Françoise) et Ceroni (Ambrogio). - Tout l'oeuvre peint de Modigliani. - Paris : Flammarion, 1972, n° 63, p. 91, repr. p. 90 ["La Femme au ruban de velours", "Paris Musées Nationaux, donation Jean Walter-Paul Guillaume"]
Hoog (Michel). - Impressionistes et Post-impressionistes des musées français de Manet à Matisse : cat. exp. : 1981, Tbilissi / Leningrad. - Tbilissi : Sabchota Sakartielo, 1981, n° 26, n.p., repr. coul.
Contensou (Bernadette), Le Clézio (J. M. G.) et Marchesseau (Daniel). - Amedeo Modigliani (1884-1920) : [cat. exp. : 1981, Paris, MAMVP]. - Paris : Musée d'art moderne de la ville de Paris, 1981, p. 40
Lassaigne (Jacques). - < Tout Modigliani. La peinture >. - Paris : Flammarion, 1982, p. 24, repr. fig. 63
Castieau-Barrielle (Thérèse). - La Vie et l'oeuvre de Modigliani. - Courbevoie : 5 Continents Editions, 1987, p. 138, repr. (La femme au ruban de velours, Paris, Musées Nationaux, donation Jean Walter-Paul Guillaume)
Knollys (J.). - "The Storran Gallery", < The Burlington magazine > < The Burlington magazine >. - 1989/03, p. 203, repr.
Hoog (Michel), Giraudon (Colette) et Guicharnaud (Hélène). - Musée de l'Orangerie : catalogue de la collection Jean Walter et Paul Guillaume, 3ème éd. revue et mise à jour [1ère éd. 1984]. - Paris : Réunion des musées nationaux, 1990, n° 63, p. 146, repr. coul. p. 147 (Femme au ruban de velours)
Christian Parisot. < Modigliani. Catalogue raisonné. Tome II >, Florence, Editions Graphis Arte, 1991, Parisot, 1991, n° 8/1915, t. II, p. 277, repr. p. 68 ["La femme au ruban de velours", "Collection Jean Walter-Paul Guillaume appartenant au Musée du Louvre"]
Jean-Luc Chalumeau. < Modigliani >, Paris, Cercle d'art, 1997, Chalumeau, 1997, p. 12 et mentionné p. 62, repr. coul. fig. 12 (Tête de femme)
Georgel (Pierre), Kijima (Shunsuke) et Nagai (Takanori). - Chefs-d'oeuvre du musée de l'Orangerie : collection Jean Walter et Paul Guillaume : cat. exp. : 1998-99, Tokyo / Nagoya / Hiroshima / Niigata / Kyoto. - Tokyo (Japon) : NTV, 1998, n° 73, p. 170, 217, repr. coul. p. [171]
Georgel (Pierre) et Peng (Chang-Ming). - Chefs-d'oeuvre du musée de l'Orangerie : collection Jean Walter et Paul Guillaume.. - Taïpei : China Times, 1999. - 247 p. ; 27 cm, n° 73, p. 204, repr. coul. 205
Georgel (Pierre) et Labiau (Jean-Pierre). - De Renoir à Picasso : chefs d'oeuvre du musée de l'Orangerie [cat. exp. : 2000-01, Montréal / Fort Worth]. - Montréal (Canada) : Musée des Beaux-Arts, 2000, n° 51, p. 200, repr. coul. p. 201
Restellini (Marc), Munck (Jacqueline) et Schmalenbach (Werner). - Modigliani : l'ange au visage grave [cat. exp. : 2002-03, Paris, musée du Luxembourg]. - Milan (Italie) : Skira, 2002, n° 38, p. 220, repr. coul. p. 221
Klein (Mason), Berger (Maurice) et Braun (Emily). - Modigliani : Beyond the Myth [cat. exp. : 2004, New York, The Jewish museum]. - New York (États-Unis) : The Jewish Museum, 2004/05/11, p. 48, repr. coul. p. 49
Von der Weid (Jean-Noël). - Musée de l'Orangerie : guide de visite. - Artlys, 2006, p. 48, repr. coul. p. 48 et 46
Beatrice Buscaroli, Claudio Strinati et Emma Zanella. < Il mistico profano : omaggio a Modigliani > [cat. exp. : 2010, Gallarate, Museo d'Arte di Gallarate], Milan, Electa, 2010, n° 19, p. 129, repr. coul. p. 37
Obras Maestras del Musée de l'Orangerie. - Mexico (Mexique) : Museo Dolores Olmedo, 2013, Cat. 16., p. 84, pl. coul. p. 85
Bouhours (Jean-Michel).- Modigliani et ses amis : Parigi 1906 . - Milan (Italie) : Skira, 2014, p. 166, pl. coul. p. 167
Lévy (Sophie).- Amedeo Modigliani : l'oeil intérieur [cat. exp, 2016,Lille, LaM, Lille Métropole Musée d'art Moderne, d'art contemporain et d'art], Paris : Gallimard, 2016, n°47, pl. coul.
Amedeo Modigliani [cat. exp, 2017 Helsinki, Ateneum, Kansallisgalleria], Helsinki (Finlande) : Ateneum Kasallisgalleria, 2016, pl. coul. p. 47
Modigliani [cat. Exp2016, Budapest, Szépmuveszeti Museum].- Budapest (Hongrie) : Szépmuveszeti Museum, 2016, Cat. 29, pl. coul. p. [78]


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Pablo Picasso, 1915

X63529
Pablo Picasso

1915
painting
Oil paint on cardboard
unconfirmed: 300 x 270 mm
Private Collection
Provenance:
The artist;
Charles-Auguste Giraud, Paris until at least 1934 [1];
George Moos, Geneva, probably after 1941, until at least 1963, and no later than 1986 [2] [3];
Private Collection, by 1990 [4];
Christie’s, London, 29 November 1993, lot 18;
Galerie Schmit, Paris;
Private Collection, purchased from the above in 2007


[1] The work is listed as being in this collection in Brussels 1933, no. 10 and Basel 1934, no. 3.
[2] Galerie George Moos, Geneva, opened in 1941. His daughter–in-law Maryam Ansari took over the gallery in 1967, Moos died in 1984 and the gallery terminated business in 1986.
[3] The work is listed as being in the collection of George Moos in the catalogues Bern 1955, Charpentier 1958, Soby 1958, Modigliani 1959, Tate 1963 and Ceroni 1972
[4] The work is listed as being a private collection in Giannada 1990.

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' lower left, inscribed PICASSO top, inscribed ‘SAVOIR’ lower right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 86

Exhibitions:
Exposition Modigliani » Palais des Beaux-Arts, Brussels, November 1933, n° 10.
Modigliani » Kunsthalle, Basel, January-February 1934, n° 3.
Modigliani, Campigli, Sironi » Kunsthalle, Bern, August-September 1955, n° 6.
Cent tableaux de Modigliani » Galerie Charpentier, Paris, April-May 1958, n° 20.
Mostra di Amedeo Modigliani » Palazzo Reale, Milan, November-December 1958, n° 13, reproduced.
Modigliani » Galleria Nazionale d’Arte Moderna, Rome, January-February 1959, n° 8, reproduced.
Modigliani » The Tate Gallery, London ; Royal Scottish Academy, Edinburgh September-November 1963, n° 8, reproduced.
Modigliani » Musée Saint-Georges, Liège, October-December 1980, n° 28, reproduced page 38.
Amedeo Modigliani » Musée d’Art Moderne, Paris, March-June 1981, n° 27, reproduced page116.
Modigliani » Fondation Pierre Gianadda, Martigny, June-October 1990, n° 38, reproduced page 111.
Amedeo Modigliani. Malerei-Skulpturen-Zeichnungen » Kunstmuseum, Düsseldorf ; Kunsthaus, Zurich January-July 1991, n° 20, reproduced in colours.
Amedeo Modigliani » Museo d’Arte Moderna, Lugano, March 28 - June 27, 1999, n° 15, reproduced in colours page 51.
Modigliani, l’ange au visage grave » Musée du Luxembourg, Paris October 23, 2002 - March 2, 2003, n° 33, reproduced in colours page 211.
Modigliani » London, 2006 reproduced in colours.
Modigliani » Pushkin Museum, Moscow, 2007 reproduced in colours.
Selected Literature:
G. Jedlicka Modigliani » Zurich, 1953, reproduced plate 10.
J.T. Soby Modigliani » New-York, 1954, page 22.
A. Pfannstiel Modigliani et son Œuvre » Paris, 1956, n° 64.
A. Ceroni Amedeo Modigliani » Milan, 1958, n° 51, reproduced.
A. Roy Modigliani » Geneva, 1958, reproduced in colours page 38.
J. Modigliani Modigliani sans légende » Paris, 1961, reproduced pl. 31.
A. Werner Amedeo Modigliani » Paris, 1968, reproduced in colours p. 97.
G. Diehl Modigliani » Lugano-Paris, 1969, reproduced in colours p. 51.
J. Lanthemann Modigliani 1884-1920, Catalogue Raisonné, son Œuvre Complète, son Art » Barcelona, 1970, n° 670, reproduced.
A. Ceroni &amp; F. Cachin Tout l’œuvre peint de Modigliani » Paris, 1972, n° 86, reproduced page 92.
A. Mann Modigliani » London, 1980, page 93.
J. Modigliani Racconta Modigliani » Paris, 1984, page 86.
T. Castieau-Barielle La Vie et l’Oeuvre d’Amedeo Modigliani » Paris, 1987, reproduced in colours page 100.
C. Parisot Modigliani » Livorno, 1988, reproduced in colours p. 85.
S. Buisson La scuola di Parigi e Modigliani » Paris, 1989, page 104.
C. Parisot Modigliani. Catalogue Raisonné » Tome I, Livorno, 1990, reproduced in colours page 85.
C. Parisot Modigliani. Catalogue Raisonné, Peintures » Tome II, Livorno, 1991, n° 1915.10, reproduced in colours page 70.
O. Patani Amedeo Modigliani. Catalogue generale dipinti » Milan, 1991, n° 89, reproduced in colours page 112.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Henri Laurens, 1915

X69111
Henri Laurens

1915
painting
Oil paint on canvas
unconfirmed: 550 x 460 mm
Private Collection
Provenance:
The artist;
[…]
Galerie Percier, not before 1922, no later than 1946 [1];
Léonce Rosenberg;
Roger Dutilleul (1873–1956), by 1930 [2];
Thence by descent [3];
Private collection, USA
[1] According to Gee 1977, Galerie Percier operated from 1922–1946. Established by André Level and investors included André Lefèvre, Max and Raoul Pellequer; and Alfred Richet. Set up to ‘create and maintain relations between art lovers and French and foreign artists’ they were among the most pro-avant-garde of the right bank galleries. Their ‘bread and butter’ came from selling the work of the École de Paris and École Francais, together with art négre. Records show that Modigliani was held in their stock in 1930; they also purchased Modigliani at Hotel Drout.
[2] ‘He [Dutilleul] purchased portraits of artists who had produced works that he owned. In 1920, he acquired a gouache by Henri Laurens, the boxer of 1919, then three sculptures from the Simon gallery between 1925 and 1931. And in 1924, he purchased Modigliani’s 1915 Portrait of Henri Laurens (Ceroni no. 53). Photographs show this painting hanging over his desk in his bedroom. He appears to have been particularly fond of this work, which appears top left in Irmgard Micaela Burchard’s portrait of him. The Portrait of Henri Laurens, which resulted from Modigliani’s recently abandoned explorations of sculpture, combines Dutilleul’s favoured genre, the portrait, with a very pronounced Cubist-inspired style.
[3] The work is credited to ‘Private Collection, Paris’, in Paris 1981.
Notes:
Gee, 1977, p. 177, no. 41, indicates the work was sold at auction on 17/3/1923: 87 Portrait du sculpteur Laurens, inv. 55.46, price F1350, Cat. 53, Paris, Private Collection.
Lender’s address:  Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Lender address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern 

Nationality of artist: Italian
Identifying marks:
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 053

Exhibition history:
Amsterdam, 1950
Tournai, 1956
Marseille, Musee Cantini, ‘Modigliani’, 10 June – 27 July 1958, cat. no. 5 (‘Private Collection)
Paris, Galerie Charpentier, ‘Modigliani: Cent Tableaux de Modigliani’, 1958, no. 24 (‘Private Collection’)
Lille, 1974
Paris 1981

Selected Literature:
Venturi 1952, p.155
Scritti di Storia dell’Ate… 1956, II, p. 206;
Fels, 1956, p. 111;
Ceroni 1958, no. 40;
Modigliani, 1961, pl.4;
Werner, 1968, p. 89;
Diehl, 1969, p. 22;
Lanthemann, 1970, no. 71;
Ceroni 1972, no. 53
Modigliani, exhibition catalogue, Musée Saint-Georges, Liege, 18 October–14 December 1980 (not exhibited), p.43, fig. 45.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Paul Guillaume, 1916

X63462
Paul Guillaume

1916
on paper, unique
Pencil on paper
unconfirmed: 352 x 262 mm
The Museum of Modern Art, New York. Gift of Mr. and Mrs. Richard Rodgers, 1979
Provenance:
The artist;

[By 1934(?), Paul Guillaume or Leopold Zborowski, Paris, probably acquired from the artist];
By 1940 – until at least 1965, Stefa and Leon Brillouin, New York. Probably acquired from one of the above;
By 1979, Forum Gallery, New York;
1979, The Museum of Modern Art, New York. Acquired from the above (Mr. and Mrs. Richard Rodgers)

Lender’s address: 11 W 53rd St, New York, NY 10019, USA


Nationality of artist: Italian
Identifying marks: Signed and dated ‘Modigliani 1916’ lower right, inscribed upper left corner ‘J11. Liberté!’, inscribed upper right corner ‘3 fr’.
Place of manufacture: Paris, France
Catalogue raisonné: Ambrosio Ceroni, Modigliani. Dessins, Sculptures. Milan: Edizioni del Milione, 1965. No. 139


Exhibition history:
New York, The American British Art Center, "Amedeo Modigliani Sixtieth Anniversary of Modigliani’s Birth", November 13 – December 2, 1944, no. 10Cambridge, Mass, Fogg Art Museum, Harvard University, "Modigliani Drawings from the Collection of Stefa &amp; Leon Brillouin", November 3 – December 12, 1959, no.12MoMA Exh. #1267: "Gifts of Drawing: European and American Acquisitions", August 9 – November 13, 1979
Tokyo, The National Museum of Modern Art, "Modigliani Exhibition Japan 1985", July 19 - September 23, 1988; traveled to Nagoya, Aichi Prefectural Museum, October 23 – November 7, 1985
Nagoya City Art Museum, "Modigliani: A Retrospective" April 5 – October 5, 2008


Selected Literature:
"Amedeo Modigliani Sixtieth Anniversary of Modigliani’s Birth." New York: The American British Art Center, 1944, no. 10, not. ill.
"Modigliani Drawings from the Collection of Stefa &amp; Leon Brillouin." Cambridge, Mass: Fogg Art Museum, Harvard University, 1959, no. 12, ill.
Patani, Osvaldo. "Amedeo Modigliani. Catalogo Generale. Disegni 1906 – 1920." Milan: Leonardo, 1994, p. 128, ill.
Catalogue Raisonnée: Ambrosio Ceroni. Modigliani. Dessins, Sculptures. Milan: Edizioni del Milione, 1965. No. 139, p. 37, ill.
Lanthemann, J., Modigliani, Catalogue Raisonnée. Barcelona: Gráficas Condal, 1970. N. 743, p.147, ill. p.339.
Schmalenbach, Werner, Modigliani. Munich: Prestel Verlag, 2005. No.121, unpaginated, ill.


This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Marguerite, 1916

X63472
Marguerite

1916
painting
Oil paint on canvas
unconfirmed: 807 x 400 mm frame: 1000 x 600 x 65 mm
Private Collection
Provenance:
The artist;
Léopold Zborowksi, Paris, acquired directly from the artist;
Galerie Bing et Cie, Paris, 1925; Jean Netter, Paris, by 1929 [1];
Frua de Angeli Collection, Milan, by 1930 [2];
Lampugnani Collection, Milan; Galleria il Milione, Milan;
Private collection, 1953;
By descent to the present owner, an anonymous collector.

[1] Listed as ‘Jeune Fille sur La Chaise (Margherita), col. J. Netter, Paris’ in Pfansteil 1929
[2] Listed as Coll. Gr. Uff. Carlo Frua De Angeli, Milano in Venice 1930 exhibition catalogue, no. 9 (not illustrated). Carlo Frua de Angeli died 1969.

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' lower right; inscribed ‘MARGEARITA’ upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 129

Exhibition history:
Exposition des peintures et des dessins de Modigliani, Galerie Berthe Weill, Paris, Dec 1917
Exposition Modigliani, Galerie Bernheim-Jeune, Paris, Feb 1922
Amedeo Modigliani, Galerie Bing et Cie, Paris, Oct – Nov 1925
XVII Esposizione Biennale Internazionale d'Arte della città di Venezia, Biennale Internazionale d'Arte della città di Venezia, Venezia, May – Sept 1930
Modigliani, Associazione tra gli Amatori e I Cultori delle Arti Figurative Contemporanee, Milano April 1946 – May 1946
Peinture Italienne moderne, Musée des Beaux Arts, La Chaux de Fonds, Feb 1947
Art italien contemporain, Palais des Beaux Arts, Bruxelles, Jan – Feb 1950
VI Quadriennale Nazionale d'Arte di Roma, Palazzo delle Esposizioni, Roma, Dec 1951 – May 1952
Grosse Kunstausstellung München 1957. Ausstellung Italienischer Kunst von 1910 bis zur Gegenwart, Haus der Kunst, München, June 1957 – Sept 1957
Mostra di Amedeo Modigliani, Palazzo Reale, Milano, Nov – Dec 1958
Modigliani, Musée Cantini, Marseille, Jun – Jul 1958
Modigliani, Galleria Nazionale d'Arte Moderna, Roma, Jan – Feb 1959
Amedeo Modigliani, Steinernes Haus Römerberg, Frankfurt am Main, Jun – Jul 1963
L'ange au visage grave, Musée du Luxembour, Paris, Oct 2002 – Mar 2003
Modigliani, Complesso del Vittoriano, Roma, Feb – Jun 2006
Modigliani y su tiempo, Museo Thyessen Bornemisza, Madrid, Feb – May 2008
Modigliani. Ein mythos der moderne, Kunst und Ausstellungshalle der Bundesrepublik
Deutschland, Bonn, Apr – Aug 2009

Selected Literature:
Arthur Pfannstiel, L'art et la vie. Modigliani, Marcel Seheur, Paris 1929, n. 25/VII
Arthur Pfannstiel, Modigliani et son oeuvre. Étude critique et catalogue raisonné, Bibliothèque des Arts, Paris 1956, p. 105, cat. n. 154
Ambrogio Ceroni, Amedeo Modigliani. Peintre, Edizioni del Milione, Milano 1958, p.53, cat. n. 74
Osvaldo Patani, Amedeo Modigliani. Catalogo Generale, Leonardo Editore, Milano 1991, p. 145, cat. n. 130
VV.AA., Exposition Modigliani, Galerie Bernheim Jeune – Moderne Imprimerie, Paris 1922, cat. n. 37
George Waldemar, "Modigliani" in L'Amour de l'art, October 1925, Librairie de France, Paris 1925, p. 386
Raffaele Carrieri, 12 opere di Amedeo Modigliani, Edizioni Del Milione, Milano 1950, pl. 7
Enzo Carli, Amedeo Modigliani. Con una testimonianza di Jean Cassou, De Luca, Roma 1952, pl. 15
Lionello Venturi (edited by), Modigliani, Musée Cantini, Marseille 1958, cat. n. 12
Russoli Franco (edited by), Mostra di Amedeo Modigliani, Ente Manifestazioni Milanesi, Milano 1958, p. 25, cat. n. 28
Nello Ponente (edited by), Modigliani, Editalia, Roma 1959, p. 41, cat. n. 19, pl. 15
Ewald Rathke (edited by), Amedeo Modigliani, Frankfurter Kunstverein, Frankfurt 1963, p. 14, cat. n. 17
Franco Russoli, I Maestri del colore, n. 9. Modigliani, Fratelli Fabbri Editori, Milano 1963, pl. IV
Roger van Gindertael, Modigliani e Montparnasse, Fratelli Fabbri, Milano 1967, p. 60, pl. 35
Helen I. Hubbard, Modigliani and the Painters of Montparnasse, The McCall Publishing Company, New York 1970, pp. 44 - 45, pl. 35
Marc Restellini (edited by), Modigliani. The Melancholy Angel, Skira, Milano 2002, pp. 246 - 247, cat. n. 49
Chiappini Rudy (edited by), Modigliani, Skira, Milano 2006, pp. 168 - 169, cat. n. 21
Francisco Calvo Serraller (edited by), Modigliani y su tiempo, Museo Thyssen Bornemisza, Madrid 2008, pp. 108 -109,197, cat. n. 63
Christoph Vitali (edited by), Modigliani. Ein mythos der moderne, DuMont Buchverlag, Koln 2009, pp. 164, 180, cat. n. 91
Beatrice Buscaroli, Emma Zanella (edited by), Il mistico profano. Omaggio a Modigliani, Mondadori Electa, Milano 2010, pp. 45, 131, cat. n. 28

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Max Jacob, c.1916-17

X63479
Max Jacob

c.1916-17
painting
Oil paint on canvas
unconfirmed: 927 x 603 mm frame: 1124 x 330 x 30 mm
Cincinnati Art Museum, Bequest of Mary E. Johnston, 1959.43
Provenance:
The artist;
Henri-Pierre Roché, Paris Oct 1917 – c. 1952 [1];
Possibly Sidney Janis Gallery, New York, c. 1952 [1]
Hanover Gallery, by 1958 [2];
Theodore Schempp, New York 1959 [2];
In 1959 sold to Cincinnati Art Museum, the current owner
[1] The painting entered Roché’s collection in 1917 (see Cincinnati Curatorial Revision Worksheet, Curatorial file; and Henri-Pierre Roché, "Adieu, brave petite collection, L’Oeil, March 1959, p.39.) The painting remained in Roché’s collection until about 1952. He lent (or perhaps consigned) the painting to the Sidney Janis Gallery for an exhibition of French Masters 1901-50, which was held from February 18 until March 22, 1952. In a letter of May 6, 1988 the Sidney Janis Gallery indicated that they received the painting from Roché and that it was listed for sale, but their records did not show whether they sold the painting or returned it to Roché. A letter of June 19, 2000, from Carroll Janis confirms the painting was in the inventory of the Janis Gallery, but does not give any additional information on their ownership history of the painting.
[2] See "Notable Works of Art now on the Market", The Burlington Magazine, 100, December 1958, no. 669, vol. C, plate XXX, not paginated.

Lender’s address: 953 Eden Park Dr, Cincinnati, OH 45202, USA

Nationality of artist: Italian
Identifying marks:
Place of manufacture: Paris, France

Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 105
Exhibition history:

French Masters 1901 – 1950, Sidney Janis Gallery, New York City, February 18 – March 22, 1952
Amedeo Modigliani, The Contemporary Arts Centre, Cincinnati, April 18 – May 20, 1959, no. 11 and repro
Arte Italiane dell XX secolo da Collezioni Americane (20th c. Italian Art from American Collections), Palazzo Reale, Milan, Italy, Apr 30 – Jun 26; Galleria Nazionale d’Arte Moderna, Roma, Italy, July 16 – Sept. 15, 1960. (Palazzo Reale, Milan, no. 137; cat. P. 199 and repro. P. 90)
Modigliani, The Arts Council of Great Britain, London, Aug.-Nov., 1963; Edinburgh Festival Society, Edinburgh, Royal Scottish Academy, Aug. 17 – Sept. 16, 1963; London, The Tate Gallery, London, Sept. 28 – Nov. 3, 1963, cat. #23, p. 17.
The Age of Modernism – Art in the Twentieth Century, Zeitgeist-Gesellschaft, Berlin, May – Jul 27, 1997.
Modigliani and the Artist of Montparnasse, Albright-Knox Art Gallery, Buffalo, Oct 18 2002 – Jan 12 2003; Kimbell Art Museum, For Worth, Feb 8 – May 25, 2003; Los Angeles County Museum of Art, Jun 28 – Sept 28, 2003.
Modigliani: Beyond the Myth, The Jewish Museum, New York, May 21 – Sept 19, 2004; Art Gallery of Ontario, Toronto, Oct 23 2004 – Jan 23, 2005.
Modigliani and His Times, Museo Thyssen-Bornemisza, Madrid, Feb 8 – May 18, 2008.
Picasso and the Great War, The Barnes Foundation, Philadelphia; Feb 13 – May 9, 2016; Columbus Museum of Art; Jun 10 – Sept 11, 2016.

Selected literature:

"Arte Italiania del XX secolo da Collezioni Americane" Milan: Palazzo Real, p. 199, illus. p. 90.
Young, M.S. "French Painting in the XIX and XXth Centuries", Apollo, April 1971: 70, illus. fig. 8.
"25 Great Masters of Modern Art: Modigliani", Japan: Jodansha Ltd. 1980, #21 colour illus.
"Masterpieces from the Cincinnati Art Museum", Cincinnati: Cincinnati Art Museum, 1984: p. 126
Patani, Osvaldo "Amadeo Modigliani Catalogo General Dipinti", Milan: Leonardo Editors, 1991: illus. p. 130.
Fukaya, Katsunori, ed. "Modigliani", Japan: Nihon Keizai Shimbun, Inc., 1992: p. 46, illus. p. 47.
"Contemporary Cincinnati, the Campaign for a new Contemporary Arts Center", n.d.: illus. p.5
Pfannstiel, 1929, p. 12.
San Lazzaro, 1953, p.5.
Pfannstiel, 1956, n.79.
Ceroni, Ambrogio. "Amedeo Modigliani: Peintre. Milan: Edizioni del Milione, 1958: n.64.
Russoli, 1958, tav. 14.
Wener, 1967, p.96.
Poente, 1969, n.25.
Ceoni, 1970, n.105.
"The Art Quarterly", Autumn, 1959: p.282.
"La Chronique des Arts", sup. to the "Gazette des Beaux Arts", Feb 1961, p.50, no. 146.
"Modigliani and Soutine: Two Painters of the 20th Century", in "The Illustrated London News", September 14, 1963: illus. p. 389.

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Paul Guillaume, Seated, 1916

X63491
Paul Guillaume, Seated

1916
painting
Oil paint on canvas
unconfirmed: 810 x 540 mm frame: 980 x 708 x 56 mm
Museo del Novecento, Milano
Provenance:
The artist;
Paul Guillaume, Paris, until at least 1929 [1];
Collection Comm. Adriano Pallini, Milan, by 1951 [2];
Gino Bonomi, Milan [3];
Museo del Novecento, Milan, since 1952.
[1] Georges Waldemar 1929
[2] Thrall Soby 1951.
[3] See exh.cat. Liege 1980

Lender’s address: Palazzo dell’Arengario, Via Guglielmo Marconi, 1, 20122 Milano
 
Nationality of artist: Italian
Identifying marks: signed 'Modigliani', centre left. Inscribed and dated ‘PAUL GUILLAUME 1916’ upper left
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Modigliani. Dessins, Sculptures. Milan: Edizioni del Milione, 1965. No.


Exhibitions
Modigliani, Associazione frag li Amatori e I Cultori delle Arti Figurative Contemporanee, Milan 1946
Peinture Italienne Moderne, Musée des Beaux-Arts, La Chaux-de-Fonds 1947
Art Italien Contemporain, Palais des Beaux-Arts, Brussels 1950
Figuren uit de Italiaanse Kunst, Stedelijk Museum Amsterdam 1950
Exposition d’art moderne Italien, Musée National d’Art Moderne, paris 1950
Modern Italian Art, Tate Gallery, London 1950
Modigliani, The M useum of Modern Art, New York 1951
VI Quadriennale Nazionale d’Arte, Rome 1952
Nutida Italiensk Konst, Liljevachs Konsthall, Stockholm 1953
Modigliani Campigni Sironi, Kunsthalle, Bern 1955
Modigliani, Musée Cantini, Marseille 1958
Modigliani, Palazzo Reale, Milan 1958
Modigliani (organized by The Arts Council), Tate Gallery, London and the Edinbugh Festival, 1963, no.20.
Modigliani, Musée Saint-Georges Liege, 18 October – 14 December 1980, no. 6.
Amedeo Modigliani. Paris: Musée d’Art Moderne de la Ville de Paris, 26 March – 28 Jne 1981, no.29.
Modigliani, The Melancholy Angel. Paris: Musée du Luxembourg, 2002. No. 44.
Modigliani, Ein Mythos der Moderne. Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 17 April – 30 August 2009, no. 72.
 
Selected Literature:
G. Waldemar, La grande peinture contemporaine a la collection Paul Guillaume, Paris, 1929, repr. p. 11
A. Pfannstiel, Modigliani, cat.prés., p. 14/I
Modigliani Pascin Soutine, Palestine 1944, pl.6
Modigliani (exh.cat), Milan: Associazone frag li Amatori e i Cultori, 1946, pl.6
R. Carrieri, Modigliani 12 opere, Milan 1947, pl.4
Peinture Italienne Moderne (exh.cat), Musée des Beaux-Arts, La Chaux-de Fonds 1947, repr.couv.
Art Italien Contemporain (exh.cat.), Palais des Beaux-Arts, Brussels, 1950, ill.p.31
Figuren uit de Italiaanse Kunst (exh.cat), Stedelijk Museum Amsterdam 1950, ill. p.20
Cahiers d’Art, Un demi siecle de art Italien, Paris 1950, p.181, ill.
James Thrall Soby, Modigliani. New York: The Museum of Modern Art, 1951 (second edition 1954). P. 30, ill.
E.Carli, Modigliani. Rome 1952, p29, ill.
Nutida Italiesk Konst (exh.cat), Liljevalchs Konsthall, Stockholm 1953, ill. p. 6
G. Jedlicka, Modigliani. Erlenbach-Zurich 1953, ill.7
J. Lipchitz, Modigliani. New York, 1953, illp.9
Rivista di Livorno, Omaggio Amedeo Modigliani, Livorno 1954
Modigliani Campigli Sironi (exh.cat). Kunsthalle Bern, 1955, pl.8
E. Carli, G.A. Dell’Acqua, Profilo dell’Arte Italiana, Milan 1955, pl.XX
A. Pfannstiel, Modigliani et son oeuvre, Paris 1956, p.83, no. 86, ill.p.74
C. Roy, Modigliani, Geneva 1958, p. 69, ill.
Modigliani (exh.cat), Palazzo Reale Milan, 1958, pl.18
Ambrogio Ceroni, Modigliani Peintre. Milan: Edizione del Milione, 1958. No. 62, ill.
Franco Russoli, Modigliani. London: Thames and Hudson, 1959. Plate 12.
Jeanne Modigliani, Modigliani sans legend, Paris 1961: p. 76.
Modigliani (exh.cat). London: The Arts Council of Great Britain, 1963. No. 20, p.17.
Alfred Werner, Modigliani. London: Thames and Hudson, 1967. P100-101, ill.
Leone Piccioni and Ambrogio Ceroni, I dipinti di Modgiliani. Milan: Rizzoli Editore, 1970. No. 108, p. 93, ill. XV.
J. Lanthemann, Modigliani, sa vie, son oeuvre complet, son art. Barcelona: Condal, 1970, no.117.
Douglas Hall, Modigliani. London: Phaidon, 1979. Ill. no. 23.
Modigliani (exh.cat). Liege, Musée Saint-Georges, 1980. No.6, p.56-57, ill.
Bernard Zurcher, Modigliani. London: Eyre Metheun, 1981. No.21, ill.
Amedeo Modigliani (exh.cat). Paris: Musée d’art Moderne de la Ville de Paris, 1981. No. 29, p. 117, ill.
Christian Parisot, Modigliani. Paris: Pierre Terrail, 1992. P. 72-73, ill.
Janice Anderson, The Life and Works of Modigliani. Bristol: Parragon Book Service, 1996. P. 34, ill.
Anette Kruszynski, Amedeo Modigliani, Portraits and Nudes. Munich: Prestel, 2000. P.49, ill. Modigliani, The Melancholy Angel (exh.cat.). Paris: Musée du Luxembourg, 2002. No. 44, p. 236, ill. p. 237 and 164 (detail)
Werner Schmalenbach, Modigliani. Munchen: Prestel Verlag, 2005. Pl.37, ill.
Christoph Vitali, Modigliani, Ein Mythos der Moderne (exh.cat). Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2009. No. 72, p.178, ill. p. 77.
Doris Krystof, Amedeo Modigliani. Cologne: Taschen, 2015. P. 40-41, ill.
 
This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, L'Algérienne, 1916

X63517
L'Algérienne

1916
painting
Oil paint on canvas
unconfirmed: 550 x 300 mm unconfirmed, frame: 775 x 555 x 90 mm
Museum Ludwig, Cologne. Loan from Ludwig Stiftung, ML 76/3042
Provenance:
The artist (1884—1920);
Possibly Léopold Zborowski [1];
Wilhelm Strecker (1885—1958), Wiesbaden, probably after 1924 [2] [3];
Wallraf-Richartz-Museum and Fondation Corboud, Cologne, Inv.-No. WRM 3042, purchased from the above in 1958;
Museum Ludwig, Inv.-No. ML 76/3042, Access 1976

[1] Zborowski was Modigliani’s primary dealer from 1916
[2] Proceedings: Twenty-Eighth Annual Convention of Rotary International names a Wilhelm Strecker, Wiesbaden, in Fine Arts, Section 1 ‘Music, Literature, Painting, Sculpture’, Nice, France, June 6—11 1937.
[3] With his brothers Ludwig Strecker (1887—1978) and Paul Strecker (1898—1950), Wilhelm Strecker ran the family music publishing firm Schott and Co., Ltd. Paul Strecker was an artist and writer who established his collection during 1923–1929. In 1924 he moved to Paris, where he met the avant-garde painters in Paris, and stayed until Nazi occupation, when he he moved to the South of France. He returned to Berlin in 1945 and became a coveted set designer. Paul Strecker’s archives are held in the Archive of the Academy of Arts, Berlin. Source: Paul Strecker Foundation.

Lender’s address: The City of Cologne, The Mayor, Museum Ludwig, Heinrich-Böll-Platz, 50667 Köln

Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, lower left. Inscribed ‘L'Algérienne’, top left; dated 30 June 1917 (verso)
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 133
Exhibitions:
‘The Collection Strecker’ 1958.12.20-1959.01.11, Cologne, Wallraf-Richartz-Museum + Fondation Corboud
Slg. Strecker, Cologne, 1958–59
Collection Strecker, Cologne 1958–59
Ausstellung " French Painting from Delacroix to Picasso, Wolfsburg, 1961
National Museum of Modern Art, Tokyo Shimbun, and Chunichi Shimbun, Modigliani (Tokyo, 1985).
Endre Tót. Who's afraid of nothing ? Absent Pictures, Ludwig, 1999
Selected Literature:
Collection Strecker, Cologne 1958/59, cat. No. 6
French painting, Wolfsburg 1961, with picture and cat no. 103
Modigliani, Amedeo, Tokyo 1985, with picture and cat no. 63
Cologne ML, Inventory Catalog II, 1986, p. 171f.
Cologne ML, 20th Century Art, 1996, p. 503 and Farbabb. S.502
Cologne WRM, 20th Century Paintings, 1974, p. 136 and Picture No. 188
Cologne ML, Handbuch, 1979, p. 532 and color illustration p. 533
Tót, Endre, Cologne 1999, p. 67 and Farbabb. P. 67
Kunstwelten im Dialog, Cologne 1999-00, p. 538 and cat. No. 287
Modigliani, Amedeo, Japan 2008, p. 76 and Farbabb. p.77
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Portrait of Anna Zborowski (Portrait de Hanka Zborowski), 1916

X63538
Portrait of Anna Zborowski (Portrait de Hanka Zborowski)

1916
painting
Oil paint on canvas
unconfirmed: 762 x 451 mm
Brooklyn Museum, Lent by the Rita and Alex Hillman Foundation, L2009.5.12
Provenance:
Léopold Zborowski (1889–1932), acquired directly from the artist [1];
[…]
René Drouin, Paris, likely after 1939 [2] [3]
Mr. and Mrs Alexander Hillman, New York in 1950, from the above;
Transferred to the Alex Hillman Family Foundation in 1958;
Long term loan to Brooklyn Museum, New York
[1] Zborowski was Modigliani’s primary dealer after 1916
[2] See exh.cat Modigliani, Paintings and Drawings. The Los Angeles County Museum, 1961
[3] Galerie René Drouin operated from 1939 until 1962.

Lender’s address: 200 Eastern Pkwy, Brooklyn, NY 11238, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' lower left
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 159

Exhibition history:
Amedeo Modigliani. The Museum of Modern Art, New York / The Cleveland Museum of Art, 1951.
VI Quadriennale Nazionale d’Arte di Roma, 1951-52.
Amedeo Modigliani, Palazzo Reale, Milan, 1958.
The Art of Amedeo Modigliani, Atlanta Art Association Galleries, 1960.
Amedeo Modigliani. Acquavella Galleries, New York, October 14 – November 13 1971, no. 16.
Modigliani, Paintings and Drawings. The Museum of Fine Arts, Boston / The Los Angeles County Museum, 1961, No.9.
Modigliani, Ein Mythos der Moderne. Kunst- und Ausstellungshalle der Bundesrepublik Deutschland. Bonn, 17 April – 30 August 2009.
Modigliani Beyond the Myth. The Jewish Museum, New York, May 21 – September 2004. Art Gallery of Ontario, October 23 2004 – January 23 2005. The Phillips Collection, Washington, D.C., February 19 – May 29 2005.

Selected Literature:
Claude Roy, Modigliani. Paris: Albert Skira, 1958, p. 79.
Franco Russoli, Modigliani. London: Thames and Hudson, 1959. Ill. plate 11.
Modigliani, Paintings and Drawings (exh.cat). The Museum of Fine Arts, Boston / The Los Angeles County Museum, 1961. No.9, p.34, ill.p.43.
Leone Piccioni and Ambrogio Ceroni, I Dipinti di Modigliani. Milan: Rizzoli Editore, 1970. No. 159, p.96, ill.
Amedeo Modigliani (exh.cat.). New York: Acquavella Galleries, 1971. Ill. no. 16.
Mason Klein, Modigliani Beyond the Myth (exh.cat). New York: The Jewish Museum, 2002. Ill. plate 42, p. 127.
Christoph Vitali. Modigliani, Ein Mythos der Moderne (exh.cat). Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2009. No. 66, p.178, ill.p. 105.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Nude on a Divan (Almaisa), 1916

X63575
Nude on a Divan (Almaisa)

1916
painting
Oil paint on canvas
unconfirmed: 810 x 1160 mm
Private Collection
Provenance:

Amedeo Modigliani, Jean Cocteau, 1916

X63610
Jean Cocteau

1916
painting
Oil paint on canvas
unconfirmed: 1004 x 813 mm frame: 1137 x 946 x 76 mm
The Henry and Rose Pearlman Collection on long term loan to the Princeton University Art Museum
Provenance:
Acquired from the artist by Jean Cocteau, Paris, ca. 1917;
sold by Moise Kisling to the owner of Café Rotonde, ca. 1917.
De Caves, Paris.
Zborowski, Paris.
E[mile] Khoury (Khouri), Paris.
Paul Guillaume (1891–1934), Paris, by 1926;
by descent to his widow Domenica Guillaume (later Walter).
Billy Rose (1899–1966), New York, by 1944;
sold to George Gard "Buddy" De Sylva (1895–1950), Los Angeles;
by descent to the estate of George Gard De Sylva; [James Vigeveno Galleries, Los Angeles]; [Pierre F. Nesi, Paris];
sold to Henry Pearlman, by Mar. 1951;
Henry and Rose Pearlman Foundation, after 1974;
On long term loan to the Princeton University Art Museum

Lender’s address: Elm Dr, Princeton, NJ 08544, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper left
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 106

Exhibition history:
Trente ans d'art indépendant, 1884-1914 (Saturday, February 20, 1926 - Sunday, March 21, 1926)
Twelve Portraits by Modigliani and a Group of Modern French Painings (January 08–27, 1940)
The Museum of Modern art, New York: Art in Progress (May 24 - October 22, 1944)
The Cleveland Museum of Art: Modigliani: Paintings, Drawings, Sculpture (April 11 - June 17, 1951)
The Museum of Modern Art, New York: Amedeo Modigliani, 1954 (October 25 - November 13, 1954)
The Museum of Modern Art, New York: Paintings from Private Collections (May 31 - September 5, 1955)
Great French Paintings 1870-1910 (June 15, 1956–July 26, 1956)
Anonymous Collection (July 1–September 1, 1958)
The Contemporary Arts Center, Cincinnati Art Museum: Amedeo Modigliani: Paintings, Sculpture and Drawings (April 18 - May 20, 1959)
M. Knoedler &amp; Co., New York: A Loan Exhibition of Paintings, Watercolors and Sculpture from the Collection of Mr. and Mrs. Henry Pearlman for the Benefit of Greenwich House (January 27 - February 21, 1959)
The Art of Amedeo Modigliani (March 31 - April 17, 1960)
An Exhibition of 19th &amp; 20th Century Painting and Sculpture from the Collection of Mr. and Mrs. Henry Pearlman (Wednesday, June 29, 1960 - Monday, September 5, 1960)
Paintings from Private Collections: Summer Loan Exhibition 1961 (Summer 1961)
The Museum of Fine Arts, Boston and the Los Angeles County Museum: Modigliani Paintings and Drawings (January 19 - February 22, 1961)
Tate Gallery, London, Arranged by the Arts Council: Modigliani [1963] (September 28 - November 3, 1963)
The Henry Pearlman Collection (Friday, May 22, 1964 - Thursday, October 15, 1964)
Collection of Mr. and Mrs. Henry Pearlman (Sunday, June 20, 1965 - Sunday, October 17, 1965)
Summer Loan Exhibition, 1966 (July 8 - September 6, 1966)
Cézanne and His Contemporaries: The Mr. and Mrs. Henry Pearlman Collection (Wednesday, June 14, 1967 - Sunday, October 1, 1967)
New York Collects, 1968 (July 3 - September 2, 1968)
Impressionism, Post-Impressionism, Expressionism: The Mr. &amp; Mrs. Henry Pearlman Collection of Works by Cézanne, Van Gogh, Degas, Tolouse-Lautrec, Manet, Modigliani, Soutine, and Others (Wednesday, June 10, 1970 - Sunday, October 4, 1970)
Summer Loan 1971: Paintings from New York Collections: Collection of Mr. and Mrs. Henry Pearlman and the Henry and Rose Pearlman Foundation (July 13 - September 7, 1971)
Loan Exhibition: Amedeo Modigliani for the Benefit of the Museum of Modern Art, New York (October 14 - November 13, 1971)
Loan Collection of Mr. and Mrs. H. Pearlman (August 15–October 15, 1973)
An Exhibition of Paintings, Watercolors, Sculpture and Drawings from the Collection of Mr. and Mrs. Henry Pearlman and the Henry and Rose Pearlman Foundation (Wednesday, May 22, 1974 - Sunday, September 29, 1974)
Modern Portraits: The Self and Others (October 21 - November 27, 1976)
Cocteau Generations: Spirit of the French Avant-Garde: A Celebration (May 15 - November 15, 1984)
Impressionist, Post-Impressionist, and Early Modern Art from the Collection of Mr. and Mrs. Henry Pearlman (Tuesday, May 13, 1986 - Saturday, January 31, 1987)
Italian Art in the Twentieth Century (January 1- April 30, 1989)
The Poetry of Jean Cocteau (September 5 - November 6, 1989)
Amedeo Modigliani (January 19 - July 21, 1991)
Amedeo Modigliani (March 28 - June 27, 1999)
Modigliani and the Artists of Montparnasse (October 19, 2002 - Sept. 23, 2003)
Jean Cocteau, sur le fil du siecle (September 25, 2003 – January 5, 2004)
The Jewish Museum, New York: Modigliani: Beyond the Myth (Friday, May 21, 2004 - Sunday, May 29, 2005)
1913: The Year of Modernism (Saturday, March 23, 2013 - Sunday, June 23, 2013)
Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection (September 19, 2015–January 03, 2016)
Literature:
Waldemar George, "Modigliani," L'Amour de l'art 6 (1925)
Grand Palais, Trente ans d'art indépendant, 1884-1914: catalogue: exposition retrospective des oeuvres des membres inscrits au cours des trente premie`res, (Paris: Socie´te´ des artistes independants, 1926).
André Salmon, Modigliani: sa vie et son oeuvre (Paris, 1926)
Arthur Pfannstiel, Modigliani (Paris, 1929)
Waldemar George, La grande peinture contemporaine à la Collection Paul Guillaume (Paris, 1929)
Adolphe Basler, Modigliani (Paris, 1931)
S. Taguchi, Modigliani (Tokyo, 1936)
Reginald Howard Wilenski, Modern French Painters (New York, 1940)
Anonymous, "Modigliani's Moments as a Portraitist," Art News 38 (Jan. 13, 1940)
Art in Progress: A Survey Prepared for the Fifteenth Anniversary of the Museum of Modern Art, New York (New York, 1944)
Anonymous, "Buddy de Sylva: Gift to Hollywood," Art News 45 (Sept. 1946)
Raffaello Franchi, Modigliani (Florence, 1946)
Jean Cocteau, Modigliani (Paris, 1950)
The Mr. and Mrs. George Gard De Sylva Collection of French Impressionist and Modern Paintings and Sculpture (Los Angeles, 1950)
James Thrall Soby, Modigliani: Paintings, Drawings, Sculpture (New York, 1951)
Pierre Descargues, Amedeo Modigliani, 1884-1920 (Paris, 1951)
Jacques Lipchitz, Amedeo Modigliani (New York, 1952)
Jacques Lipchitz., Modigliani (New York, 1953)
Gotthard Jedlicka, Modigliani, 1884-1920 (Erlenbach-Zurich, 1953)
Paolo D'Ancona, Modigliani, Chagall, Soutine, Pascin: Some Aspects of Expressionism (Milan, 1953)
Jacques Lipchitz, Amedeo Modigliani (New York, 1954)
Amedeo Modigliani, 1884-1920 (New York, 1954)
Paintings from Private Collections: a 25th Anniversary Exhibition of the Museum of Modern Art (New York, 1955)
Arthur Pfannstiel, Modigliani et son oeuvre (Paris, 1956)
Ambrogio Ceroni, Amedeo Modigliani: peintre suivi des "souvenirs" de Lunia Czechowska (Milan, 1958)
Claude Roy, Modigliani (Paris, 1958)
Franco Russoli, Modigliani (London, 1959)
A loan exhibition of paintings, watercolors and sculpture from the Collection of Mr. and Mrs. Henry Pearlman:for the benefit of Greenwich House, (New York: M. Knoedler &amp; Co., 1959).
Amedeo Modigliani: Paintings, Sculpture and Drawings (Cincinnati, 1959)
Modigliani: Drawings from the Collection of Stefa &amp; Leon Brillouin (Cambridge, 1959)
H.L.F., "Pearlman Collection: Taste with a Reverse Twist," Art news 57, no. 10 (Feb., 1959).
An exhibition of 19th &amp; 20th century painting and sculpture from the Collection of Mr. and Mrs. Henry Pearlman, (New York: Brooklyn Museum of Art, 1960).
The Art of Amedeo Modigliani (Atlanta, 1960)
Frederick S. Wright, Modigliani Paintings and Drawings (Los Angeles, 1961)
Paintings from Private Collections: Summer Loan Exhibition 1961 (New York, 1961)
A. L. Chanin, "The Henry Pearlman Collection," Connoisseur 145, no. 586 (June 1960)
Modigliani (London, 1963)
The Henry Pearlman Collection, (New York: Brooklyn Museum of Art, 1964).
Arthur S. Pfannstiel, "Jean Cocteau Discovers Some Modiglianis," The Connoisseur 159, no. 639 (May 1965)
Alfred Werner, Amedeo Modigliani (New York, 1966)
Metropolitan Museum of Art, Summer Loan Exhibition (New York, 1966)
Pierre Sichel, Modigliani: A Biography of Amedeo Modigliani (New York, 1967)
Cézanne and his contemporaries: The Mr. and Mrs. Henry Pearlman Collection, (Detroit, MI: Detroit
Institute of Art, 1967).
New York Collects (New York, 1968)
Gaston Diehl, Modigliani (Paris, 1969)
Francis Steegmuller, Cocteau: A Biography (Boston, 1970)
Impressionism, Post-impressionism, Expressionism: The Mr. &amp; Mrs. Henry Pearlman Collection of Works by Cézanne, Van Gogh, Degas, Toulouse-Lautrec, Manet, Modigliani, Soutine, and Others (Hartford, CT: Wadsworth Atheneum, 1970).
Hilton Kramer, "Reconsidering a 'Little Master'," New York times (Oct. 24, 1971).
Summer Loan 1971: Paintings from New York Collections: Collection of Mr. and Mrs. Henry Pearlman and The Henry and Rose Pearlman Foundation (New York, 1971)
Alfred Werner, Loan Exhibition: Amedeo Modigliani: For the Benefit of the Museum of Modern Art (New York, 1971)
Francoise Cachin and Ambrogio Ceroni, Tout l'oeuvre peint de Modigliani (Paris, 1972)
Linda Ferber and Leonore Sundberg, An exhibition of paintings, watercolors, sculpture and drawings from the Collection of Mr. and Mrs. Henry Pearlman and Henry and Rose Pearlman Foundation, (New York: Brooklyn Museum of Art, 1974).
Kirk Varnedoe, Modern Portraits: The Self and Others: An Exhibition Organized by the Department of Art History and Archaeology of Columbia University in the City of New York for the Benefit of the Graduate Research Fund (New York, 1976)
Douglas Hall, Modigliani (London, 1984)
Cocteau Generations: Spirit of the French Avant-Garde: A Celebration (New York, 1984)
Jean Cocteau, Jean Cocteau, Vollendete Vergangenheit (Munich, 1989)
Emily Braun, ed., Italian Art in the Twentieth Century: Painting and Sculpture, 1900-1988 (London and Munich, 1989)
Werner Schmalenbach, Amedeo Modigliani: Paintings, Sculptures, Drawings (Munich, 1990)
Katsunori Fukaya, Modigliani (Tokyo, 1992)
Osvaldo Patani, Amedeo Modigliani, catalogo generale, (Milan: Leonardo, 1991-1994).
Stephen Butler, Modigliani (London, 1994)
Henry Pearlman, Reminiscences of a Collector (Princeton, 1995)
Doris Krystof, Modigliani 1884-1920: The Poetry of Seeing (Cologne, 1996)
John Richardson, A Life of Picasso (New York, 1996)
Billy Kluver, A Day with Picasso (Cambridge, 1997)
Rudy Chiappini, Amedeo Modigliani (Lugano and Milan, 1999)
Doriana Comerlati, ed., Modigliani: The Melancholy Angel (Milan, 2002)
Kenneth Wayne, Modigliani and the Artists of Montparnasse (New York and Buffalo, 2002)
Cocteau: Jean Cocteau, sur le fil du siècle (Paris and Montreal, 2003)
Mason Klein, ed., Modigliani: Beyond the Myth (New York; New Haven: Yale University Press, 2004).
Jeffrey Meyers, Modigliani: A Life (Orlando, 2006)
Emily Braun et al., Modigliani and His Models (London, 2006)
Christian Parisot, Modigliani: La vita, le opere (Sassari and Rome, 2006)
Francisco Calvo Serraller, Modigliani y su tiempo (Madrid, 2008)
Kikuro Miyashita, La Légende de Montparnasse: Amedeo Modigliani (Tokyo, 2008)
Doris Krystof, Amedeo Modigliani (Cologne, 2009)
Meryle Secrest, Modigliani: A Life (New York, 2011)
Rachael Z. DeLue et al., Cézanne and the Modern: masterworks of European art from the Pearlman Collection, (Princeton, NJ: Princeton University Art Museum; New Haven, CT: Yale University Press, 2014).
Mariah Keller, ed., Picasso: The Great War, Experimentation and Change (New York: Scala, 2016).
Sophie Lévy, Jeanne-Bathilde Lacourt, and Marie-Amélie Senot-Tercinet, Amadeo Modigliani: The Inner Eye (Paris: Gallimard, 2016).


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Léon Indenbaum, 1916

X63611
Léon Indenbaum

1916
painting
Oil paint on canvas
unconfirmed: 546 x 457 mm frame: 854 x 765 x 75 mm
The Henry and Rose Pearlman Collection on long term loan to the Princeton University Art Museum
Provenance:
Acquired from the artist by Léon Indenbaum (1890–1981), Paris, 1916;
[sold to Georges Chéron (d. 1931), Paris, ca. 1916]
Sold at auction, Hôtel Drouot, 1 July 1937, lot 151
[Victor Raykis, Galerie Zak, Paris]
sold to Henry Pearlman, by 1949;
Henry and Rose Pearlman Foundation, after 1974
On long term loan to the Princeton University Art Museum
Lender’s address: Elm Dr, Princeton, NJ 08544, USA
Nationality of artist: Italian
Identifying marks: signed 'Modigliani' lower right, inscribed ‘INDE’ top left, ‘BAUM’ top right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 91
Exhibition history:
Modigliani: Paintings, Drawings, Sculpture: The Cleveland Museum of Art (31 Jan 1951 – 18 Mar 1951); The Museum of Modern Art, New York (11 Apr 1951 – 17 Jun 1951)
Anonymous Collection: Baltimore Museum of Art (1 Jul 1958 – 1 Sep 1958)
Amedeo Modigliani: Paintings, Sculpture and Drawings: The Arts Club of Chicago (20 Jan 1959 – 28 Feb 1959); Milwaukee Art Museum (5 Mar 1959 – 1 Apr 1959); Cincinnati Art Museum (18 Apr 1959 – 20 May 1959)
A Loan Exhibition of Paintings, Watercolors and Sculpture from the Collection of Mr. and Mrs. Henry Pearlman for the Benefit of Greenwich House: M. Knoedler &amp; Company (27 Jan 1959 – 21 Feb 1959)
An Exhibition of 19th &amp; 20th Century Painting and Sculpture from the Collection of Mr. and Mrs. Henry Pearlman: Brooklyn Museum (29 Jun 1960 – 5 Sep 1960)
Paintings from Private Collections: Summer Loan Exhibition 1961: The Metropolitan Museum of Art (1961 – 1961)
Modigliani: Royal Scottish Academy, Edinburgh (17 Aug 1963 – 16 Sep 1963); Tate Gallery London (28 Sep 1963 – 3 Nov 1963)
The Henry Pearlman Collection: Brooklyn Museum (22 May 1964 – 15 Oct 1964)
Collection of Mr. and Mrs. Henry Pearlman: Munson-Williams-Proctor Arts Institute (1972 – 1972)
Summer Loan Exhibition, 1966: The Metropolitan Museum of Art (8 Jul 1966 – 6 Sep 1966
Cézanne and His Contemporaries: The Mr. and Mrs. Henry Pearlman Collection: Detroit Institute of Arts (14 Jun 1967 – 1 Oct 1967)
New York Collects, 1968: The Metropolitan Museum of Art (3 Jul 1968 – 2 Sep 1968)
Impressionism, Post-Impressionism, Expressionism: The Mr. &amp; Mrs. Henry Pearlman Collection of Works by Cézanne, Van Gogh, Degas, Tolouse-Lautrec, Manet, Modigliani, Soutine, and Others: Wadsworth Atheneum Museum of Art (10 Jun 1970 – ?)
Summer Loan 1971: Paintings from New York Collections: Collection of Mr. and Mrs. Henry Pearlman and the Henry and Rose Pearlman Foundation: The Metropolitan Museum of Art (13 Jul 1971 – 7 Sep 1971)
Loan Exhibition: Amedeo Modigliani for the Benefit of the Museum of Modern Art, New York: Acquavella Galleries, Inc. (14 Oct 1971 – 13 Nov 1971)
Loan Collection of Mr. and Mrs. H. Pearlman: M. Knoedler &amp; Company (15 Aug 1973 – 15 Oct 1973)
An Exhibition of Paintings, Watercolors, Sculpture and Drawings from the Collection of Mr. and Mrs. Henry Pearlman and the Henry and Rose Pearlman Foundation: Brooklyn Museum (22 May 1974 – 29 Sep 1974); Princeton University Art Museum (8 Dec 1974 – 14 Ma
The Circle of Montparnasse: Jewish Artists in Paris, 1910-1945: The Jewish Museum (10 Sep 1985 – 6 Jan 1986)
Impressionist, Post-Impressionist, and Early Modern Art from the Collection of Mr. and Mrs. Henry Pearlman: The Metropolitan Museum of Art (13 May 1986 – 31 Jan 1987)
Amedeo Modigliani in Japan 1992-93: Tobu Museum of Art (3 Nov 1992 – 23 Dec 1992); Daimaru Museum, Kyoto (31 Dec 1992 – 12 Jan 1993); Musée d'Art Moderne, Ibaraki (20 Feb 1993 – 28 Mar 1993); Daimaru Museum, Osaka (20 Jan 1993 – 8 Feb 1993)
Amedeo Modigliani: Museo d'Arte Moderna di Lugano (28 Mar 199 – 27 Jun 1999)
Paris in New York: French Jewish Artists in Private Collections: The Jewish Museum (5 Mar 2000 – 25 Jun 2000)
Amedeo Modigliani: L'ange au visage grave: Musée du Luxembourg (23 Oct 2002 – 2 Mar 2003); Palazzo Reale, Milan (20 Mar 2003 – 6 Jul 2003)
Modigliani: Beyond the Myth: The Phillips Collection (19 Feb 2005 – 29 May 2005); The Jewish Museum (21 May 2004 – 19 Sep 2004); The Art Gallery of Ontario (23 Oct 2004 – 23 Jan 2005).
Modigliani scultore: Museo di arte moderna e contemporanea di Trento e Rovereto (18 Dec 2010 – 28 Mar 2010)
Cézanne and the Modern: Masterpieces of European Art from the Pearlman Collection: Ashmolean Museum of Art &amp; Archaeology (13 Mar 2014 – 22 Jun 2014); Musée Granet (12 Jul 2014 – 5 Oct 2014); High Museum of Art (25 Oct 2014 – 11 Jan 2015); Princeton University Art Museum (19 Sep 2015 – 10 Jan 2016)
Literature:
James Thrall Soby, Modigliani: Paintings, Drawings, Sculpture (New York, 1951)
Gotthard Jedlicka, Modigliani, 1884-1920 (Erlenbach-Zurich, 1953)
Arthur Pfannstiel, Modigliani et son oeuvre (Paris, 1956)
A Loan Exhibition of Paintings, Watercolors and Sculpture from the Collection of Mr. and Mrs. Henry
Pearlman for the Benefit of Greenwich House (New York, 1959)
Amedeo Modigliani: Paintings, Sculpture and Drawings (Cincinnati, 1959)
H.L.F., "Pearlman Collection: Taste with a Reverse Twist," Art news 57, no. 10 (Feb., 1959).
An Exhibition of 19th &amp; 20th Century Paintings and Sculpture from the Collection of Mr. and Mrs. Henry Pearlman (New York, 1960)
Paintings from Private Collections: Summer Loan Exhibition 1961 (New York, 1961)
Modigliani (London, 1963)
Metropolitan Museum of Art, Summer Loan Exhibition (New York, 1966)
Cézanne and His Contemporaries: The Mr. and Mrs. Henry Pearlman Collection (Detroit, 1967)
Pierre Sichel, Modigliani: A Biography of Amedeo Modigliani (New York, 1967)
New York Collects (New York, 1968)
Impressionism, Post-impressionism, Expressionism: The Mr. &amp; Mrs. Henry Pearlman Collection of Works by Cézanne, Van Gogh, Degas, Toulouse-Lautrec, Manet, Modigliani, Soutine, and Others (Hartford, 1970)
Summer Loan 1971: Paintings from New York Collections: Collection of Mr. and Mrs. Henry Pearlman and The Henry and Rose Pearlman Foundation (New York, 1971)
Francoise Cachin and Ambrogio Ceroni, Tout l'oeuvre peint de Modigliani (Paris, 1972)
An Exhibition of Paintings, Watercolors, Sculpture and Drawings from the Collection of Mr. and Mrs. Henry Pearlman and Henry and Rose Pearlman Foundation (New York, 1974)
Enzo Maiolino, Modigliani Vivo: Testimonianze inedite e rare (Turin, 1981)
Kenneth Silver and Romy Golan, The Circle of Montparnasse: Jewish Artists in Paris, 1910-1945 (New York, 1985)
Jeanine Warnod, Les artistes de Montparnasse: La Ruche (Paris, 1988)
Werner Schmalenbach, Amedeo Modigliani: Paintings, Sculptures, Drawings (Munich, 1990)
Osvaldo Patani, Amedeo Modigliani, catalogo generale, (Milan: Leonardo, 1991-1994).
Henry Pearlman, Reminiscences of a Collector (Princeton, 1995)
Rudy Chiappini, Amedeo Modigliani (Lugano and Milan, 1999)
Susan Chevlowe, Paris in New York: French Jewish Artists in Private Collections (New York, 2000)
Kenneth Wayne, Modigliani and the Artists of Montparnasse (New York and Buffalo, 2002)
Doriana Comerlati, ed., Modigliani: The Melancholy Angel (Milan, 2002)
Mason Klein, ed., Modigliani: Beyond the Myth (New York; New Haven: Yale University Press, 2004).
Fabio Belloni, Modigliani e la scuola di Parigi: Georges Rouault, Constantin Brancusi, Kees Van Dongen, Maurice Utrillo, Jules Pascin, Leonard Foujita, Marc Chagall, Moise Kisling, Chaim Soutine (Florence, 2008)
Gabriella Belli, Flavio Fergonzi, Alessandro Del Puppp and Clarenza Catullo, Modigliani sculptor, (Cinisello Balsamo: Silvana Editoriale; Rovereto: MART, 2010).
Meryle Secrest, Modigliani: A Life (New York, 2011)
Rachael Z. DeLue et al., Cézanne and the Modern: masterworks of European art from the Pearlman Collection, (Princeton, NJ: Princeton University Art Museum; New Haven, CT: Yale University Press, 2014).
This work was confiscated during the operative period 1933-45 and was restored to its rightful owners.

Amedeo Modigliani, The Italian Woman, 1917

X63426
The Italian Woman

1917
painting
Oil paint on canvas
unconfirmed: 1026 x 670 mm frame: 1295 x 943 x 89 mm
The Metropolitan Museum of Art, Gift of The Chester Dale Collection, 1956 (56.4)
Provenance:
Leopold Zborowski, Paris, acquired directly from the artist; Monsieur Bradly, Paris; [Galerie Georges Petit, Paris, in 1930]; Chester Dale, New York by 1931–56; his gift to Metropolitan Museum of Art, New York, The Chester Dale Collection, 1956. Inv. 56.4.

Lender’s address: 1000 5th Ave, New York, NY 10028, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani’, upper right
Place of manufacture: South of France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 268

Exhibition history:
Paris. Galerie B. Weill. "Exposition des peintures et des dessins de Modigliani," December 3–30, 1917, no. 19 (as "L'Italienne") [possibly this picture?].
New York. De Hauke &amp; Co., Inc. "30 Years of French Painting, 1900–1930: 30 Paintings by 30 Artists," October 1–19, 1929, no. 21 (as "L'Italienne") [possibly this picture].
Paris. Galerie Georges Petit. "Cent ans de peinture française," June 15–30, 1930, no. 52 (as "L'Italienne").
New York. Demotte, Inc. "Amedeo Modigliani, 1884–1920: Retrospective Exhibition of Paintings," November 7–28, 1931, no. 20 (as "L'Italienne," lent by Mr. Chester Dale, New York).
Palais des Beaux-Arts, Brussels. "Modigliani," November 1933, no. 76 (as "L'Italienne," lent by Chester Dale, New York).
Kunsthalle Basel. "Modigliani," January 7–February 4, 1934, no. 66 (as "L'Italienne," lent by Mrs. Chester Dale, New York).
Philadelphia Museum of Art. "Paintings from the Chester Dale Collection," October 10, 1943–unknown date, unnumbered cat. (as "Italian Woman," c. 1915).
Brussels. Palais international des beaux-arts. "50 ans d'art moderne: Exposition universelle et internationale," April 17–July 21, 1958, extended to October 19, 1958, no. 226 (as "Femme italienne").
New York. The Metropolitan Museum of Art. "Masterpieces of Fifty Centuries," November 14, 1970–June 1, 1971, no. 394.
Musée d'Art Moderne de la Ville de Paris. "Amedeo Modigliani, 1884–1920," March 26–June 28, 1981, no. 71 (dated 1918).
National Museum of Modern Art, Tokyo. "Modigliani," July 19–September 29, 1985, no. 92 (dated 1918).
Nagoya. Aichi Prefectural Art Gallery. "Modigliani," October 23–November 7, 1985, no. 92.
Yokohama Museum of Art. "Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century," March 25–June 4, 1989, no. 164.
Martigny. Fondation Pierre Gianadda. "Modigliani," June 19–October 28, 1990, no. 93Madrid. Centro de Arte Reina Sofía. "Memoria del futuro: Arte Italiano desde las primeras vanguardias a la posguerra," October 31, 1990–January 15, 1991, unnumbered cat. (p. 250).
Tokyo. Tobu Museum of Art. "Exposition Amedeo Modigliani au Japon," November 3–December 23, 1992, no. 36 (as "Portrait de l'Italienne").
Daimaru Museum, Kyoto. "Exposition Amedeo Modigliani au Japon," December 31, 1992–January 12, 1993, no. 36.
Daimaru Museum, Osaka. "Exposition Amedeo Modigliani au Japon," January 20–February 8, 1993, no. 36.
Museum of Modern Art, Ibaraki. "Exposition Amedeo Modigliani au Japon," February 20–March 28, 1993, no. 36.
Lausanne. Fondation de l'Hermitage. "Les Peintres de Zborowski: Modigliani, Utrillo, Soutine et leurs amis," June 24–October 23, 1994, no. 16.
Museo d'Arte Moderna, Lugano. "Amedeo Modigliani," March 28–June 27, 1999, no. 56.
Buffalo. Albright-Knox Art Gallery. "Modigliani and the Artists of Montparnasse," October 19, 2002–January 12, 2003, no. 20.
Fort Worth. Kimbell Art Museum. "Modigliani and the Artists of Montparnasse," February 9–May 25, 2003, no. 20.
Los Angeles County Museum of Art. "Modigliani and the Artists of Montparnasse," June 29–September 28, 2003, no. 20.
Jewish Museum, New York. "Modigliani: Beyond the Myth," May 21–September 19, 2004, unnumbered cat. (pl. 68).
Toronto. Art Gallery of Ontario. "Modigliani: Beyond the Myth," October 23, 2004–January 23, 2005, unnumbered cat.
Washington, D. C. Phillips Collection. "Modigliani: Beyond the Myth," February 19–May 29, 2005, unnumbered cat.
London. Royal Academy of Arts. "Modigliani and His Models," July 8–October 15, 2006, no. 22.

Selected Literature:
Edward Alden Jewell. "New Season Opens in Local Galleries." New York Times (October 6, 1929), p. X12 [possibly this picture], describes "L'Italienne" in Exh. New York 1929 as having "one of the familiar long, oval faces, the long neck, the narrow, sloping shoulders, the eyes that are almond slits"
Maud Dale. "Modigliani." Formes no. 18 (October 1931), ill. between pp. 122 and 123, calls it "Italian Woman".
Umbro Apollonio. "Amedeo Modigliani, 1884–1920." Cahiers d'art 25 (1950), ill. p. 173, as "La Brune".
Theodore Rousseau, Jr. "New Accessions of Paintings." Metropolitan Museum of Art Bulletin 14 (April 1956), p. 198, ill. p. 203.
Arthur Pfannstiel. Modigliani et son œuvre. Paris, 1956, pp. 154–55, no. 297, as in the collection of Mrs. Chester Dale, New York.
Ambrogio Ceroni. Amedeo Modigliani, peintre: Suivi des "souvenirs' de Lunia Czechowska. Milan, 1958, p. 60, no. 110, ill., calls it "Femme assise (L'italienne)" and dates it 1918.
Geoffrey T. Hellman. "Profiles: Custodian." New Yorker (October 25, 1958), p. 52.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, pp. 241–42, ill., comment that "it would be interesting to identify her with Rosalia, an Italian who kept a little restaurant in the Rue Campagna-Première, where Modigliani was one of her favorites".
Nello Ponente. Modigliani. New York, 1969, p. 34, colorpl. 47, calls it "Portrait of a Woman" and dates it 1917–18.
Kenneth Clark. Masterpieces of Fifty Centuries. Exh. cat., The Metropolitan Museum of Art. New York, 1970, pp. 323, 326, no. 394, ill
Ambrogio Ceroni. I dipinti di Modigliani. Milan, 1970, p. 101, no. 268, ill. [French ed., 1972], dates it 1918; erroneously locates it in the National Gallery of Art, Washington.
J[oseph]. Lanthemann. Modigliani, 1884–1920, catalogue raisonné: Sa vie, son œuvre complet, son art. Barcelona, 1970, p. 130, no. 336, ill. p. 248, calls it "Femme assise (L'italienne)" and dates it end 1918–1919; notes the influence of Japanese art in this picture.
Douglas Hall. Modigliani. Oxford, 1984, unpaginated, under no. 41, fig. 35.
Lowery S. Sims in Treasures from The Metropolitan Museum of Art: French Art from the Middle Ages to the Twentieth Century. Exh. cat., Yokohama Museum of Art. Tokyo, 1989, p. 202, no. 164, ill. (color), notes that this sitter was not a professional model or member of Modigliani's immediate circle.
Gaston Diehl. Modigliani. rev. ed. [1st ed., 1969]. New York, 1989, ill. p. 85 (color), dates it 1918.
Osvaldo Patani. Amedeo Modigliani: Catalogo generale. Vol. 1, Dipinti. Milan, 1991, p. 283, no. 281, ill. (color), calls it "Donna seduta (L'italiana)" and dates it 1918.
Christian Parisot. Modigliani: Catalogue raisonné. Ed. Giorgio and Guido Guastalla. Vol. 2, Peintures, dessins, aquarelles. Livorno, 1991, pp. 328–29, no. 23/1918, ill. p. 207.
Marc Restellini in Exposition Amedeo Modigliani au Japon. Exh. cat., Tobu Museum of Art. Tokyo, 1992, pp. 124–25, 204, no. 36, ill. (color), dates it 1918; states that it was painted in Nice, as a pendant to a portrait of a man called "Le Niçois" (private collection; Patani 1991, no. 300; Parisot 1991, no. 24/1919), citing the sitters' similar composure, black clothing, and the green band along the right side of both pictures; surmises that the sitters were connected in some way, similar to Italian pendant portraits of the sixteenth century.
Joachim Pissarro in Les Peintres de Zborowski: Modigliani, Utrillo, Soutine et leurs amis. Exh. cat., Fondation de l'Hermitage. Lausanne, 1994, p. 165, no. 16, ill. (color), dates it 1918; notes references to Flemish portraiture, Japanese art, naive art, and Italian mannerism in this picture.
Marie-Christine Decroocq in Amedeo Modigliani. Exh. cat., Museo d'Arte Moderna, Lugano. Milan, 1999, pp. 123, 198, no. 56, ill. (color and bw), dates it 1918, executed during Modigliani's 1918–19 stay in Nice; surmises that it relates to two male portraits of similar format: "The Notary of Nice" (Patani 1991, no. 300; Parisot 1991, no. 24/1919) and "Seated Man with Orange Background" (Patani 1991, no. 286; Parisot 1991, no. 44/1918), both in private collections; suggests that these three portraits of unknown sitters were executed in sequence; believes that the title "L'Italienne" refers to the traditional hairstyle with a knotted black ribbon.
Mason Klein in Modigliani: Beyond the Myth. Ed. Mason Klein. Exh. cat., Jewish Museum, New York. New Haven, 2004, p. 6.
Emily Braun in Modigliani: Beyond the Myth. Ed. Mason Klein. Exh. cat., Jewish Museum, New York. New Haven, 2004, pp. 27, 205, colorpl. 68, remarks that only this unknown Italian sitter "can be securely identified as a compatriot" among Modigliani's portraits.
Christian Parisot. Modigliani: La Vita le opere. Rome, 2006, ill. p. 286 (color), dates it 1918. Merlin James. "Modigliani: London." Burlington Magazine 148 (October 2006), p. 703.
Mason Klein in Modigliani. Exh. cat., Complesso del Vittoriano, Rome. Milan, 2006, p. 80, fig. 2 [Italian transl. of Ref. Klein 2004].

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Jacques and Berthe Lipchitz, 1916

X63458
Jacques and Berthe Lipchitz

1916
painting
Oil paint on canvas
unconfirmed: 813 x 543 mm
The Art Institute of Chicago, Helen Birch Bartlett Memorial Collection, 1926.221
Provenance:
Jacques Lipchitz, Paris, acquired directly from the artist, 1916–c. 1921 [Paris 1920 and Lipchitz 1972]; by exchange to Léonce Rosenberg, Paris, c. 1921–1922 [Paris 1920, Lipchitz 1972 and Benezra 1986]; sold to Frederick C. and Helen Birch Bartlett, Chicago, 1922–1926 [Benezra 1986]; given to the Art Institute of Chicago, 1926
Lender’s address: 111 S Michigan Ave, Chicago, IL 60603, USA
Nationality of artist: Italian
Identifying marks: signed 'Modigliani', upper right. Inscribed ‘LIPCHITZ’, upper centre
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 161

Exhibition history:

Paris, Galerie Montaigne, Exposition rétrospective des oeuvres de Modigliani, December 11–29, 1920, n.p., cat. 14, as Portrait du sculpteur L. et de sa femme.
Art Institute of Chicago, Birch-Bartlett Collection of Modern European Paintings, September 8–October 8, 1925.
Boston, Art Club, Birch Bartlett Collection of Modern French Painting, December 9–26, 1925, cat. 40, as Double Portrait.
Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture, June 1–November 1, 1933, p. 79, cat. 702, as Double Portrait (Jacques Lipchitz and his Wife).
Art Institute of Chicago, A Century of Progress Exhibition of Paintings and Sculpture, June 1–November 1, 1934, p. 53, cat. 356, as Double Portrait (Jacques Lipchitz and his Wife).
New York, Museum of Modern Art, Twentieth-Century Portraits, December 9, 1942–January 24, 1943, pp. 16, 140, pl. 66 (ill.), as Double Portrait (M. and Mme. Jacques Lipchitz), 1916–17; traveled to Baltimore Museum of Art, February 12–March 7, 1943; Worchester Art Museum, March 24–April 18, 1943.
New York, Museum of Modern Art, Twentieth-Century Italian Art, June 28–September 12, 1949, pp. 24, pl. 52 (ill.), as Jacques Lipchitz and His Wife.
Cleveland Museum of Art, Modigliani: Paintings, Drawings, Sculpture, January 30–March 18, 1951, p. 51, as Jacques Lipchitz and his Wife, 1916–17; traveled to New York, Museum of Modern Art, April 11–June 10, 1951.
Rome, Palazzo delle Exposizioni, Sixth Quadrennial National Art Exhibition of Rome [VI Quadriennale nazionale d’arte di Roma], December 15, 1951–April 1952, p. 175, cat. 9, as Jacques Lipchitz e sua moglie, 1917.
Paris, Musée national d’arte moderne, May–June 1952, cat. 72; traveled to London, Tate Gallery, Arts Council of Great Britain, Twentieth-Century Masterpieces: An Exhibition of Paintings and Sculpture, July 15–August 17, 1952, p. 14, cat. 66, pl. III (ill.), as Portrait of Jacques Lipchitz and His Wife, 1917.
Art Institute of Chicago, The Artist Looks at People, November 13, 1958–January 11, 1959, no cat.
Czechoslovakia, 1969, cat. 12.
Dusseldorf, Kunstsammlung Nordrhein-Westfahlen, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen, January 19–April 1, 1991, pp. 39 (ill.), 95 (ill.), pl. 45, cat. 49, as Jacques Lipchitz und seine Frau, 1917; traveled to Zürich, Kunsthaus, April 19–July 7, 1991.
Buffalo, Albright-Knox Art Gallery, Modigliani and the Artists of Montparnasse, October 19, 2002–January 12, 2003; pp. 32, 86 (ill., cat. 9), as Jacques and Berthe Lipchitz, 1916; traveled to Fort Worth, Kimbell Art Museum, February 9–May 25, 2003; and Los Angeles County Museum of Art, June 29–September 28, 2003.
Moscow, Pushkin State Museum of Fine Arts, Modigliani March 21–June 17, 2007, pp. 54, 55 (ill.), 90, as Portrait of Jacques and Berthe Lipchitz, 1917.
Fort Worth, Kimball Art Museum, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, Oct. 6, 2013–Feb. 16, 2014.


Selected Literature:
Galerie Montaigne, Exposition rétrospective des oeuvres de Modigliani exh. cat. (Paris: Galerie Montaigne, 1920), n.p., cat. 14, as Portrait du sculpteur L. et de sa femme.
Art Institute of Chicago, A Guide to Paintings in the Permanent Collection (Chicago: Art Institute, 1925), p. 169, cat. 2294, as Double Portrait.
F., “The Birch-Bartlett Loan Collection,” Bulletin of the Art Institute of Chicago, XIX, no. 7 (October 1925), p. 82.
Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial from the Birch-Bartlett Collection, (Chicago: Art Institute, 1926), pp. 44. 45 (ill.), 59, as Double Portrait.
Zabel, Morton Dauwen, “An American Gallery of Modern Painting,” Art and Archaeology 26, no. 6 (December 1928), p. 235, as Double Portrait.
Sherwood, Walter J., “The Famous Birsh Bartlett Collection,” The Chicago Visitor (October, 1932), p. 40, as Double Portrait.
Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture Lent from American Collections (Chicago: Art Institute, 1933), p. 79, cat. 702, as Double Portrait (Jacques Lipchitz and his Wife).
Art Institute of Chicago, A Century of Progress: Exhibition of Paintings and Sculpture (Chicago: Art Institute, 1934), p. 53, cat. 356, as Double Portrait (Jacques Lipchitz and his Wife).
Wheeler, Monroe, Twentieth-Century Portraits exh. cat. (New York: Museum of Modern Art, 1942), pp. 16, 140, pl. 66 (ill.), as Double Portrait (M. and Mme. Jacques Lipchitz), 1916–17.
Art Institute of Chicago, Modern Paintings in the Helen Birch Bartlett Memorial, from the Birch Bartlett Collection (Chicago: Art Institute, 1946), pp. 36, 37 (ill.), 58, as Double Portrait (Jacques Lipchitz and His Wife).
Soby, James Thrall and Alfred H. Barr, Jr., Twentieth-Century Italian Art exh. cat. (New York: Museum of Modern Art, 1949), pp. 24, pl. 52 (ill.), as Jacques Lipchitz and His Wife.
Lipchitz, Jacques, “I Remember Modigliani,” Art News 49 (February 1951), pp. 27 (ill.), 28–29, 64–65.
Sixth Quadrennial National Art Exhibition of Rome [VI Quadriennale nazionale d’arte di Roma] (Rome: Palazzo delle Exposizioni, 1951), p. 175, cat. 9, as Jacques Lipchitz e sua moglie, 1917.
Soby, James Thrall, and Alfred H. Barr, Jr., Modigliani: Paintings, Drawings, Sculpture exh. cat. (New York: Museum of Modern Art, 1951), p. 51, as Jacques Lipchitz and his Wife, 1916–17.
Bucci, Anselmo, “Modigliani—Nach Dem Leben,” Das Kunstwerk 6, no. 5 (1952), p. 28 (ill.), as Jacques Lipchitz und seine Frau.
Carli, Enzo, Amedeo Modigliani (Rome: De Luca Editore, 1952), pp. 21-22, 30–31, pl. 8 (ill.), cat. 8, as Jacques Lipchitz e sua moglie.
Lombardo, Joseph Vincent, “20th Century Italian Art,” Art Education 5, no. 6 (December, 1952), p. 2 (ill.), 7, as Jacques Lipchitz and Wife.
Tate Gallery, Twentieth-Century Masterpieces: An Exhibition of Paintings and Sculpture exh. cat. (London: Tate Gallery, 1952), p. 14, cat. 66, pl. III (ill.), as Portrait of Jacques Lipchitz and His Wife, 1917.
Lipchitz, Jacques, Amedeo Modigliani 1884-1920 (New York: Harry N. Abrams, 1954), n.p., pl. 45 (ill.), pl. 46 (ill.), as Jacques Lipchitz and his Wife, 1916–17.
Taillander, Yvon, “Modigliani,” Connaissance des arts 38 (April 15, 1955), p. 65 (ill.), as Le sculpteur Lipchitz et sa femme.
Fels, Florent, L’Art vivant de 1900 á nos jours (Geneva: 1956), pl. 8 (ill.).
Pfannstiel, Arthur, Modigliani et son ouevre (Paris: La Bibliothèque des Arts, 1956), p. 90, cat. 115, as Jacques Lipchitz et sa femme.
Lipchitz, Jacques, Modigliani (London: Beaverbrook Newspapers Ltd., 1958), pp. 4–5, 6 (ill.).
Modigliani, Jeanne, Modigliani: Man and Myth, translated by Esther Rowland Clifford (New York: Orion Press, 1958), p. 81.
Russoli, Franco, Modigliani, translated by Isabel Quigly (London: Thames and Hudson, 1959), n.p., pl. 13 (ill.), as Jacques Lipchitz and his Wife, 1916.
Schulze, Franz, “Chicago: Portraiture at the Institute,” Art News 57, no. 9 (January 1959), p. 49 (ill.), as M. and Mme. Lipchitz.
Art Institute of Chicago, Paintings in The Art Institute of Chicago: A Catalogue of the Picture Collection (Chicago: Art Institute, 1961), p. 315–16, as Jacques Lipchitz and His Wife, 1916.
Patai, Irene, Encounters: The Life of Jacques Lipchitz (New York: Funk &amp; Wagnalls Company, 1961), pp. 165–166.
Ceroni, Ambrogio, Amedeo Modigliani, dessins et sculptures (Milan: Edizioni del milione, 1965), p. 44, pl. 189 (ill.), as Le sculpteur Jacques Lipchitz et sa femme, 1917.
Pavolini, Corrado, Modigliani (New York: UNESCO, 1966), p. 10 (ill.)
Werner, Alfred, Amedeo Modigliani (New York: Harry N. Abrahams, 1966), pp. 108, 109 (ill.), as Portrait of Jacques Lipchitz and his Wife, 1916–17.
El Mundo de los Museos, Instituto de arte de Chicago (Madrid: Editorial Codex, 1967), pp. 13 (ill.), 67 (ill.), fig. 5, as Jacques Lipchitz y su esposo.
Sichel, Pierre, Modigliani: A Biography of Amedeo Modigliani (New York: E. P. Dutton &amp; Co., Inc., 1967), p. 336–337, 368–369.
Gindertael, R. V., Modigliani e Montparnasse (Milan: Fratelli Fabbri Editori, 1969), p. 15, 43 (ill.), pl. XVII, as Jacques Lipchitz e sua moglie, 1916.
Ceroni, Ambrogio, and Leone Piccioni, I dipinti di Modigliani, Classici dell’arte 40 (Milan: Rizzoli, 1970), p. 96 (ill.), cat. 161, pl. XXXI, as Jacques Lipchitz e la moglie, 1917.
Lanthemann, J, Modigliani 1884-1920: Catalogue raisonné (Barcelona: Gráficas Condal, 1970), p. 115, 189 (ill.), cat. 116, as Portrait du couple Jacques Lipchitz, 1916.
Lipchitz, Jacques, with H. H. Arnason, My Life in Sculpture (New York: The Viking Press, 1972), pp. 28 (ill.), 30, fig. 21, as Portrait of Jacques Lipchitz and His Wife, 1916.
Fifield, William, Modigliani (New York: William Morrow and Company, 1976), pp. 199, n.p. (ill.), as Jacques Lipchitz and his Wife, 1916.
Warnod, Jeanne, La Ruche &amp; Montparnasse (Geneva: Weber, 1978), p. 121 (ill.), as Jacques Lipchitz et sa femme, 1917.
Hall, Douglas, Modigliani (Oxford: Phaidon, 1979), pp. 16, pl. 29 (ill.), as The Sculptor Lipchitz and his Wife, 1916
Mann, Carol, Modigliani (London: Thames and Hudson, 1980), pp. 104, 106, 107 (ill.), 212, fig. 73, as Jacques and Bertha Lipchitz, 1917.
Musée Saint-Georges, Modigliani exh. cat. (Liege, Belgium, 1980), p. 36 (ill.), fig. 26, as Portrait Jacques Lipchitz et sa femme, 1917 (cat. only).
Speyer, A. James, and Courtney Graham Donnell, Twentieth-Century European Paintings (Chicago, 1980), p. 57, cat. 3A1, as Jacques Lipchitz and His Wife, 1916.
Zurcher, Bernard, Modigliani (Paris: Fernand Hazan, 1980), p. 17, as Lipchitz.
Pelayo, Antonio, “’Modigliani sin leyenda,’ en París,” Ya (Madrid), (April 12, 1981), Culture section (ill.), as Jacques Lipchitz y su esposa.
Modigliani, Jeanne, Raconnta Modigliani (Livorno: Edizioni Graphis Arte, 1984), p. 119, n.p. (ill.), as Jacques Lipchitz e la moglie, 1917.
Roy, Claude, Modigliani, trans. by James Emmons and Stuart Gilbert (New York: Skira, 1985), pp. 39, 68–69 (ill.), 156, as Jacques Lipchitz and His Wife, 1916.
Silver, Kenneth E., and Romy Golan, The Circle of Montparnasse: Jewish Artists in Paris 1905–1945 (New York: The Jewish Museum, 1985), pp. 22–23, 24 (ill.), fig. 14, as Portrait of Jacques Lipchitz and His Wife, 1916–17.
Benezra, Neal, “A Study in Irony: Modigliani’s Jacques and Berthe Lipchitz,” Museum Studies 12, no, 2 (Art Institute of Chicago: 1986), pp. 188 (ill.), 189-99, 223.
Wood, James N., “Preface,” Museum Studies 12, no. 2 (Chicago: Art Institute, 1986), pp.82, 83, 223, cat. 18, as Jacques and Berthe Lipchitz, 1916.
Castieau-Barreille, Thérèse, La Vie et l’oeuvre de Amedeo Modigliani (Paris: Vilo, ACR Édition, 1987), pp. 166, 167 (ill.), as Jacques Lipchitz et sa femme, 1917.
Wood, James, N., and Katharine C. Lee, Master Paintings in the Art Institute of Chicago (Chicago: Art Institute, 1988), p. 123 (ill.), as Jacques and Berthe Lipchitz, 1916
Galleria d’Arte Moderna e Contemporanea, Modigliani a Montparnasse (Milan: Arnoldo Mondadori Editore, 1988), p. 21 (ill.) as Jacques Lipchitz e la moglie, 1917.
Parisot, Christian, Modigliani (Livorno: Edizioni Graphis Arte, 1988), pp., 138–139 (ill.), as Lipchitz e la moglie, 1917.
Buisson, Sylvie, La Scuola di Parigi e Modigliani (Livorno: Cassa di Risparmi di Livorno/Graphis Arte, 1989), pp. 104, 105 (ill.), as Lipchitz e la moglie, 1917
Szabo, George, “A Study in Jealousy: A Drawing by Amedeo Modigliani,” Drawing 10, no. 5 (January–February 1989), pp. 105 (ill.), 106, fig. 1, as Jacques and Berthe Lipchitz, 1916.
Parisot, Christian, Modigliani: Catalogue raisonné: Dessins, aquarelles, 1 (Livorno:
Edizioni Graphis Arte, 1990), pp. 138, 139 (ill.), as Jacques Lipchitz et sa femme, 1917.
Rose, June, Modigliani: The Pure Bohemian (London: Constable, 1990), pp. 7, 33, as Jacques and Berthe Lipchitz, 1917.
Parisot, Christian, Modigliani: Catalogue raisonné: Peintures, dessins, aquarelles, 2 (Livorno: Edizioni Graphis Arte, 1991), pp. 163 (ill.), 310, 311, cat. 27/1917, as Jacques Lipchitz et sa femme, 1917.
Patani, Osvaldo, Amedeo Modigliani: Catalogo generale, dipinti, 1 (Milan: Leonardo Editore, 1991), p. 181 (ill.), as Jacques Lipchitz e la moglie, 1917.
Schmalenbach, Werner, Amedeo Modigliani: Malerei, Skulpturen, Zeichnungen exh. cat. (Munich: Prestel Verlag, 1991), pp. 39 (ill.), 95 (ill.), pl. 45, cat. 49, as Jacques Lipchitz und seine Frau, 1917
Butler, Stephen, Modigliani (London: Studio Editions, 1994), pp. 80, 81 (ill.), 143, cat. 81, as Jacques and Bertha Lipchitz, 1916–17.
Shiff, Bennett, “A Line as Clear and Tensile as a Lightning Flash,” Smithsonian 24, no. 10 (January 1994), pp. 68 (ill.), 70, 72.
Wood, James N., and Teri J. Edelstein, The Art Institute of Chicago: Twentieth-Century Painting and Sculpture (Chicago: The Art Institute, 1996), p. 38 (ill.), as Jacques and Berthe Lipchitz, 1916.
Kruszynski, Anette, Amedeo Modigliani: Portraits and Nudes (Munich: Prestel, 1996), pp., 60–61 (ill.), 119, as Jacques and Bertha Lipchitz, 1917.
Krystof, Doris, Amedeo Modigliani 1884–1920: The Poetry of Seeing (New York: Taschen, 1996), pp. 46 (ill.), 47, as Jacques and Berthe Lipchitz, 1916
Sotheby’s, Impressionist and Modern Art Part I (November 9, 2000), p. 124 (ill.), 126, fig. 1, as Jacques et Berthe Lipchitz, 1917.
Wayne, Kenneth, Modigliani and the Artists of Montparnasse exh. cat. (New York/Buffalo: Harry H. Abrams/Albright-Knox Art Gallery, 2002), pp. 32, 86 (ill., cat. 9), as Jacques and Berthe Lipchitz, 1916.
Klein, Mason, ed., Modigliani: Beyond the Myth exh. cat. (New Haven, Conn.: Yale University Press, 2005), pp. 11 (ill., fig. 10), 79, as Jacques and Berthe Lipchitz, 1916 (cat. only).
Chiappini, Rudi, ed., Modigliani (Milan: Skira, 2006), pp. 24, 25 (ill.), fig. 4, as Jacques Lipchitz e la moglie, 1917.
Biusson, Silvi, “Russian artists in Paris,” in Modigliani, exh. cat. (Moscow: Red Square Publishing, 2007), pp. 54 (cat. 30), 55 (ill.), 90, as Portrait of Jacques and Berthe Lipchitz, 1917.
Stephanie D'Alessandro, with contributions from Renée Devoe Mertz, The Age of Picasso and Matisse: Modern Masters from the Art Institute of Chicago, exh. cat. (Art Institute of Chicago/Kimball Art Museum, 2013), p. 69 (color ill.).
Stephanie D'Alessandro, with contributions from Renée Devoe Mertz, The Age of Picasso and Matisse: Modern Art at the Art Institute of Chicago (Art Institute of Chicago, 2014), p. 69 (color ill.).


This work has a complete provenance for the operative period 1933–45.

Amedeo Modigliani, Anna Zborowska, 1917

X63459
Anna Zborowska

1917
painting
Oil paint on canvas
unconfirmed: 1302 x 813 mm
The Museum of Modern Art, New York. Lillie P. Bliss Collection, 1934
Provenance:
The artist;
1917 (?) - at least 1926, Léopold Zborowski and Anna (Hanka) Anna Zborowska, Paris, acquired from the artist;
Galerie Pierre (Pierre Loeb), Paris;
By 1929 - October 21, 1929, Valentine Gallery (Valentine Dudensing), New York, probably acquired from (or jointly owned with) Galerie Pierre;
October 21, 1929 - 1931, Lillie P. Bliss (1864-1931), New York, purchased from Valentine Gallery;
1931/1934, The Museum of Modern Art, New York, acquired by bequest from Lillie P. Bliss.

Lender’s address: 11 W 53rd St, New York, NY 10019, USA


Nationality of artist: Italian
Identifying marks: none
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 177.


Exhibition history:
MoMA Exh. #12: "Memorial Exhibition: The Collection of the Late Lillie P. Bliss", May 17 - October 6, 1931.
MoMA Exh. #30: "Summer Exhibition: Painting and Sculpture", July 10 - September 30, 1933.
MoMA Exh. #34B: "The Lillie P. Bliss Collection, 1934", May 14 - September 12, 1934.
MoMA Exh. #37: "Modern Works of Art: 5th Anniversary Exhibition", November 19, 1934 - January 20, 1955.
MoMA C/E: "25 Paintings from the Lillie P. Bliss Collection" tour:
St. Louis, City Art Museum, February 4 - March 4, 1935
Pittsburgh, Carnegie Institute, March 13 - April 10, 1935
Smith College Museum of Art, April 18 - May 19, 1935
MoMA Exh. #41: "Summer Exhibition: The Museum Collection and a Private Collection on Loan", June 4 - September 24, 1935.
Washington, Studio House, "14 Paintings", January 5-19, 1936.
Detroit Society of Arts and Crafts, "13 Paintings", February 3-24, 1936.
Boston, Museum of Modern Art, "20th Century Paintings from the MoMA", March 2-26, 1938.
MoMA Exh. #96: "12 Favorites: Paintings Selected by Students from the Museum Collection", January 31 - March 1, 1940.
MoMA Exh. #127: "Painting and Sculpture from the Museum Collection", February 3 - May 20, 1942; September 13 - October 5, 1943.
Portland, OR, Portland Art Museum, "50th Anniversary of Portland Art Association", December 2, 1942 - January 3, 1943.
MoMA Exh. #127.
Washington, D.C., Phillips Memorial Gallery, "East West", October 17 - November 16, 1943.
Albany Institute of History and Art, "Beauty and Is It Art?", November 1-30, 1944.
MoMA Exh. #290: "The Museum Collection of Painting and Sculpture", June 20, 1945 - January 13, 1946.
MoMA Exh. #324: "Painting, Sculpture, and Graphic Arts from the Museum Collection", July 2, 1946 - January 5, 1950; March 2 - July 27, 1950; July 30 - September 25, 1952; July 6 - September 13, 1954; September 13, 1956 - January 22, 1957.
Springfield Museum of Fine Arts, "In Freedom's Search", January 15 - February 19, 1950.
MoMA Exh. #324.
MoMA Exh. #456: "Painting and Sculpture from the Museum Collection", August 29 - October 15, 1950.
Cleveland Museum of Art, "Modigliani-Soutine", January 30 - March 18, 1951.
MoMA Exh. #474: "Modigliani", April 10 - June 10, 1951.
Rome, Sesta Quadriennale Nazionale d'Arte di Roma, "Modigliani", December 15, 1951 - April 1952
See MoMA Exh. #324.
West Palm Beach, Norton Gallery and School of Art, "French Painting- David to Cézanne", February 4-28, 1953 and tour:
Miami, Lowe Gallery, March 11-28, 1953
Palm Beach, Society of the Four Arts, "Modigliani", January 8-31, 1954 and tour:
Coral Gables, Lowe Art Gallery, February 11-28, 1954.
Houston, Contemporary Arts Association of Houston, "Modigliani", April 15 - May 23, 1954.
MoMA Exh. #324.
MoMA Exh. #567: "XXVth Anniversary Exhibitions: Paintings", 1st floor, October 19, 1954 - January 23, 1955.
MoMA C/E: "Modern Portraits", January 1955 - January 1956.
MoMA Exh. #324.
San Antonio, Marion Koogler McNay Institute, "Amadeo Modigliani", November 2 - December 21, 1957 and tour:
Chicago, The Arts Club of Chicago, January 30 - February 28, 1959
Milwaukee Art Center, March 5 - April 1, 1959
Cincinnati, The Contemporary Arts Center, April 10 - May 31, 1959.
To Mrs. Louise Smith, for use in home, November 13, 1959 - April 25, 1960.
MoMA Exh. #664: "Portraits from the Museum Collection", May 4 - July 5, 1950 circulated as:
MoMA C/E 60-3: "Portraits from The Museum of Modern Art", November 1960 - April 1964.
MoMA Exh. #732: "Art in a Changing World: 1884-1964: Painting and Sculpture from the Museum Collection", II-6, May 27, 1964 - March 1970?
MoMA, 6th floor, Executive Dining Room, March 10 - September 17, 1970.
MoMA Exh. #909: "Painting and Sculpture from the Museum Collection", II-9, September 17, 1970 - March 7, 1971.
Tel Aviv Museum, "Twentieth Century Masterpieces of the Paris School", April 19 - June 19, 1971.
MoMA, R-23: "20th Century Portraits", January- December 1972.
To Mrs. Bertram R. Smith, for use in home, March - May 1, 1974.
To Mr. Alex M. Lewyt, for use in home, March 12 - October 14, 1975.
To Mr. John Hay Whitney, for use in home in place of loan to Fauve exhibition, March 5 - May 7, 1976.
Detroit Institute of Arts, "Arts and Crafts in Detroit: The Movement, The Society, The School", November 24, 1976 - January 16, 1977.
To Mrs. Bertram R. Smith, replacement loan for Matisse exhibition, March - August 1977.
MoMA, Trustee's Room, April 26 - June 5, 1978.
MoMA Exh. "20th Century Paintings from the Collection of The Museum of Modern Art" tour:
Atlanta, High Museum of Art, February 13 - April 11, 1982
Seattle Art Museum, April 27 - July 4, 1982
San Diego Museum of Art, July 23 - September 26, 1982
Kansas City, Nelson Art Gallery, October 21, 1982 - January 2, 1983
New Orleans Museum of Art, February 4 - March 20, 1983
Denver Art Museum, April 15 - June 27, 1983
MoMA Exh. #1372: "Selections from the Permanent Collection: Painting and Sculpture", II-16, May 17, 1984 - June 27, 1989; July 7, 1989 - removed December 19, 1990.
Dusseldorf, Kunstsammlung Nordrhein-Westfalen, "Amadeo Modigliani", January 19 - April 1, 1991 and tour:
Zurich, Kunsthaus Zurich, April 19 - July 21, 1991.
To Mrs. Stralem, for use in home, replacement loan for Henri Matisse, A Retrospective, August 11, 1992 - January 1993.
MoMA Exh. #1656: "Selections from the Permanent Collection of Painting and Sculpture", II-stairs, September 11, 1993 - January 12, 1996.
Tokyo, Ueno Royal Museum, "Masterworks from The Museum of Modern Art, 1900-1955", October 6, 2001 - February 3, 2002.
New York, The Jewish Museum, "Modigliani", May 21 - September 19, 2004 and tour:
Toronto, The Art Gallery of Ontario, October 23, 2004 - January 23, 2005
Washington, DC, The Phillips Collection, February 19 - May 29, 2005.
London, Royal Academy of Arts, "Modigliani and his Models", July 8 - October 15, 2006.
Madrid, Museo Thyssen-Bornemisza, "Modigliani and His Times", February 5, 2008 - May 18, 2008.
Bonn, Kunst-und Ausstellungshalle der Budesrepublik Deutschland, "Amedeo Modigliani", April 17 - August 30, 2009.
MoMA Exh. #2063: "Painting and Sculpture Changes 2009", 5th Floor, gallery 7, added December 15, 2009 - April 30, 2013.
Perth, Art Gallery of Western Australia, "Van Gogh, Dalí, and Beyond: The World Reimagined", June 15 – December 2, 2013.


Selected Literature:
Alfred H. Barr, Jr., ed. Painting and Sculpture in The Museum of Modern Art 1929-1967. New York: The Museum of Modern Art, 1977, repro. p.. 112;
Modigliani (3rd), p. 51; in color, MoMA: Hist. and Coll., p. 77
Joseph Lanthemann, Modigliani: Catalogue Raisonné (Montreux: Jornod, 1970 / Barcelona: Condal, 1970), sous responsabilité de Mme Jeanne Modigliani, fille unique et légatrice universelle des droits de l'artiste (d. Juillet 1984), repro. p. 120, cat. 189 (as La Zborowska (sur un divan), 1917; huile sur toile 50M [sic: in fact this is a 60 M, that is: Marine size 60: 130 x 81 cm])
André Salmon, Modigliani, Sa vie et son Oeuvre (Paris: Quatre Chemins, 1926), no. 4: Portrait de Mme Zborowska (1917) Collection Mme Zborowska. Reproduced.
Arthur Pfannstiel, Modigliani (Paris: Marcel Seheur, 1929), repro facing p. 92: Portrait of Mme Zborowska (1917); catalogue présumé p. 20: Portrait de Mme Zborowska, anc. Collection Zborowski, Paris.
Arthur Pfannstiel, Modigliani et son oeuvre. Étude critique et catalogue raisonné (Paris: Bibliothèque des arts, 1956), p. 97, no. 129: Portrait de Mme Sborowska, h/t 1m16 x om73, Hist: coll. L. Zborowski, Paris; coll. Lillie P. Bliss.
Christian Parisot, Modigliani: Catalogue raisonné, tome 2: Peintures
Ambrogio Ceroni, Amedeo Modigliani. Milan: Edizioni del Milione, 1965. No. 191, unpaginated, ill. Leone Piccioni and Ambrogio Ceroni, I dipinti di Modigliani. Milan: Rizzoli Editore, 1970. No. 177, p. 96, ill. Werner Schmalenbach, Modigliani. Munich: Prestel Verlag, 2005. No. 53, unpaginated, ill. Mason Klein, Modigliani Beyond the Myth (exh.cat). New York: Jewish Museum, 2004. Plate 70, p.154, ill.
Douglas Hall, Modigliani. London: Phaidon, 1979. No. 30, unpaginated, ill.
James Thrall Soby, Modigliani. Paintings, drawings, sculpture. New York: Museum of Modern Art, 1951. P. 51, ill.
Jeanne Modigliani, Modigliani: Man and Myth. London: André Deutsch, 1959. No.40, unpaginated, ill.
Modigliani (exh.cat.). Paris: Muséed’Art Moderne de la Ville de Paris, 1981. No.42, p. 127, ill.
Modigliani (exh.cat). Liege: Musée Saint-Georges, 1980. No. 14, p.72, ill and reproduced on cover. Anette Kruszynski, Amedeo Modigliani. Portraits and Nudes. Munich: Prestel, 2000. P. 66, ill. Christian Parisot, Modigliani, La Vita Le Opere. Rome: Edizioni Carte Segrete 2006. P. 270, ill.


This work has a complete provenance for the operative period 1933–45.

Amedeo Modigliani, Nude, 1917

X63467
Nude

1917
painting
Oil paint on canvas
unconfirmed: 730 x 1167 mm
Solomon R. Guggenheim Museum, New York, Solomon R. Guggenheim Founding Collection, by gift
Provenance:
The artist;
Leopold Zborowski, Paris;
Louis Libaude, Paris;
Galerie Bing et Cie (Henry Bing, proprietor), Paris, by 1925;
Félix Fénéon, Paris, by 1926;
Sold to Solomon R. Guggenheim, New York, August 1938 (arrived October 1938 via S. S. Ile de France);
Gifted to the Solomon R. Guggenheim Foundation, New York, 1941
Lender’s address: 1071 5th Ave, New York, NY 10128, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper right
Inscribed on verso, probably by the artist (transcribed but not photographed before lining): ‘Modigliani 3 Joseph Bara Paris 1917’
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 186.

Exhibition history and inclusion in catalogues:
Galerie Bing &amp; Cie, Paris, Exposition Retrospective, October 24 – November 15, 1925.
La Société Des Artistes Indépendants, Grand Palais, Paris, Trente Ans d’Art Indépendant, February 20 – March 21, 1926.
Solomon R. Guggenheim Museum, New York, A Selection, February 4 – May 3, 1953.
Solomon R. Guggenheim Museum, New York, Selection II, May 13 – November 22, 1953.
Solomon R. Guggenheim Museum, New York, Interim Exhibition of Museum Collection, December 2 – December 13, 1953.
Solomon R. Guggenheim Museum, New York, Interim Exhibition of Museum Collection, January 5 – March 21, 1954.
Solomon R. Guggenheim Museum, New York, Selection III, March 30 – May 5, 1954.
Solomon R. Guggenheim Museum, New York, Selection IV, October 5, 1954 – February 27, 1955.
Solomon R. Guggenheim Museum, New York, Interim Exhibition of Museum Collection, March 1 – 13, 1955.
Solomon R. Guggenheim Museum, New York, Selection V, July 26 – October 9, 1955.
Solomon R. Guggenheim Museum, New York, Selection VI, January 25 – May 1, 1956.
Solomon R. Guggenheim Museum, New York, Recent Acquisitions and Loans II, August 21 – December 1, 1957, exh cat., p. 4.
Solomon R. Guggenheim Museum, New York, Recent Accessions, May 13 – July 6, 1958.
Solomon R. Guggenheim Museum, New York, Selections, August 13 – October 5, 1958.
Solomon R. Guggenheim Museum, New York, Before Picasso; After Miró, June 21 – October 20, 1959.
Solomon R. Guggenheim Museum, New York, Inaugural Selection, October 21, 1959 – June 12, 1960, exh cat., p. 8.
Solomon R. Guggenheim Museum, New York, exhibited with Paintings from the Arensberg and Gallatin Collections of the Philadelphia Museum of Art, January 11 – April 15, 1961.
Solomon R. Guggenheim Museum, New York, Modern Masters from the Collection of the Solomon R. Guggenheim Museum, August 30 – October 8, 1961, exh cat., p. 3.
Solomon R. Guggenheim Museum, New York, Summer Selection 1962, July 3 – September 30, 1962.
Solomon R. Guggenheim Museum, New York, Paintings from the Collection of The Solomon R. Guggenheim Museum, April 30 – October 3, 1965, exh cat., illus # 44.
Solomon R. Guggenheim Museum, New York, Gauguin and the Decorative Style, June 23 – October 23, 1966.
Solomon R. Guggenheim Museum, New York, Seven Decades: A Selection, June 28 – October 1, 1967, exh cat., color illus. #44, p. 46.
Solomon R. Guggenheim Museum, New York, Acquisitions of the 1930s and 1940s, April 11 – May 26, 1968, exh cat., color illus. p. 69.
Solomon R. Guggenheim Museum, New York, Collection: From the First to the Second World War 1915-1939, December 13, 1969 – January 18, 1970.
Solomon R. Guggenheim Museum, New York, Selections from the Guggenheim Museum Collection, 1900-1970, May 1 – September 13, 1970, exh cat., pp. 314-315, illus p.315.
Solomon R. Guggenheim Museum, New York, Selections from the Museum Collection and Recent Acquisitions, 1971, June 11 – September 12, 1971.
Solomon R. Guggenheim Museum, New York, Classics in the Collection, May 9 – August 27, 1972.
Solomon R. Guggenheim Museum, New York, Collection Exhibition, December 7, 1972 – February 22, 1973.
Solomon R. Guggenheim Museum, New York, Recent Acquisitions 1972-73, August 9 – September 3, 1973.
Solomon R. Guggenheim Museum, New York, Paintings 1880-1945, April 9 – October 3, 1976, exh cat., pp. 528 – 531, b&amp;w illus. #186, p. 528.
Solomon R. Guggenheim Museum, New York, Forty Modern Masters: An Anniversary Show, December 16, 1977 – February 1, 1978.
Solomon R. Guggenheim Museum, New York, 1900-1980 from the Guggenheim Museum Collection, May 23 – November 2, 1980, exh cat., pp. 216-217, color illus p. 217.
Solomon R. Guggenheim Museum, New York, Fifty Years of Collecting: Painting by Modern Masters, November 13, 1987 – March 13, 1988, exh cat., color illus. #40, p. 55.
National Gallery Berlin, Modern Treasures from the Solomon R. Guggenheim Foundation, January 19 – March 19, 1989.
Palazzo Grassi, Venice, Arte Italiana Presenze 1900-1945, April 30 – November 15, 1989.
Solomon R. Guggenheim Museum, New York, Masterpieces from the Collection, February 21 – April 29, 1990.
The Palazzo Grassi, Venice, From Van Gogh to Picasso, from Kandinsky to Pollock: Masterpieces of Modern Art, September 9 – December 9, 1990, exh cat., pp. 212-213, color illus. #46, p. 213.
Sezon Museum of Art, Tokyo, Masterpieces from the Guggenheim Collection: From Picasso to Pollock, June 20 – September 1, 1991.
Art Gallery of New South Wales, Sydney, Masterpieces from the Guggenheim, September 22, 1991 – January 12, 1992.
The Montreal Museum of Fine Arts, Montreal, Masterpieces from the Guggenheim, February 4 – April 26, 1992, exh cat., pp. 166-167, color illus. # 55, p. 167.
Solomon R. Guggenheim Museum, New York, The Guggenheim Museum and the Art of this Century: Masterpieces from the Permanent Collection, June 22 – September 7, 1992, exh cat., pp. 182-183, color illus. p. 183.
Rekalde Ikustaretoa, Bilbao, Guggenheim Bildumaren Maisu-Lan Modernoak/Obras Maestras Modernas de la Coleccion Guggenheim, December 1, 1993 – February 10, 1994, exh cat., color illus #12.; Kunstforum Bank Austria, Vienna, Meisterwerke aus dem Guggenheim, March 2 – June 12, 1994*; Hamburger Kunsthalle, Hamburg, Meisterwerke aus dem Guggenheim, June 30 – September 25, 1994*; Ateneum, Helsinki, Mestariteoksia Guggenheim Museosta/Masterwerk fran Guggenheim Museet, October 14, 1994 – January 15, 1995*(separate catalogs for each venue).
Guggenheim Bilbao Museoa, The Guggenheim Museums and the Art of this Century, October 19, 1997 – June 1, 1998.
Guggenheim Bilbao Museoa, Inaugural Exhibition: The Guggenheim Museums and the Art of this Century, October 19, 1997 – September 1, 1998.
Peggy Guggenheim Collection, Venice, Three Collectors, October 16, 1998 – January 24, 1999.
Solomon R. Guggenheim Museum, New York, Thannhauser Collection Installation, August 13 – October 24, 2001.
Musée d’Art Moderne de la Ville de Paris, Paris, L’École de Paris, November 9, 2000 – February 28, 2001.
Solomon R. Guggenheim Museum, New York, Spring Collection Show, March 4, 2002-January 2, 2003.
Albright-Knox Art Gallery, Buffalo, Modigliani and the Artists of Montparnasse, October 19, 2002 – January 12, 2003, exh cat., color illus #21, p. 98; Kimbell Art Museum, Fort Worth, February 9 – May 25, 2003; Los Angeles Country Museum of Art, Los Angeles, June 29 – September 28, 2003
Guggenheim-Hermitage Museum, Las Vegas, A Century of Painting: From Renoir to Rothko, November 5, 2003 – May 2, 2004, exh cat., pp. 86-87, color illus. p. 87.
The Jewish Museum, New York, Modigliani: Beyond the Myth, May 21 – September 19, 2004, exh cat., color illus # 48, p. 133.
Royal Academy of Arts, London, Modigliani and His Models, July 8 – October 15, 2006, exh cat., color illus #23, pp. 104-105.
Pushkin State Museum of Fine Arts, Moscow, Meeting Modigliani, March 20 – July 17, 2007, exh cat., color illus # 38, pp. 66-67.
Museo Thyssen-Bornemisza, Madrid, Modigliani and His Times, February 5 – May 18, 2008.
Solomon R. Guggenheim Museum, New York, From Private to Public: Collections at the
Guggenheim, June 26, 2009 – May 2, 2010.
Solomon R. Guggenheim Museum, New York, The Great Upheaval: Modern Art from the Guggenheim Collection 1910-1918, February 4 – June 1, 2011, exh cat., color illus. p. 195.
Ferrara Arte, Ferrara, Italy, Gli Anni Folli. La Parigi di Modigliani, Picasso e Dalí, September 11, 2011 – January 8, 2012, exh cat., color illus. frontispiece, color illus. #3, p. 72.
Deutsche Guggenheim, Berlin, Visions of Modernity: Impressionismus und Klassische Moderne in den Sammlungen der Guggenheim Foundation, November 15, 2012 - February 17, 2013.
Guggenheim Bilbao Museoa, The Art of Our Time: Masterpieces from the Guggenheim Collections, September 23, 2014 – January 26, 2015.
Art Gallery of Ontario, The Great Upheaval: Masterpieces from the Guggenheim Collection, 1910-1918, November 26, 2013 – March 2, 2014.
Guggenheim Bilbao Museoa, Windows on the City: The School of Paris 1900-1945, March 25, 2016 – November 6, 2016.
Solomon R. Guggenheim Museum, New York, Visionaries: Creating a Modern Guggenheim, February 10, 2017 – September 6, 2017, exh cat., color illus. p. 116.

Selected Literature:
W. George, 'Modigliani,' L’Amour de l’art, vol.6, Oct. 1925, repr. P.388 ('Collection Bing et Cie')
G.Coquiot, 'Modigliani,' Kunst und Künstler, vol. 24, 1925/26, repr. P. 466 ('Bes. Galerie Bing' dated 1917)
A. Salmon, Modigliani: sa vie et son oeuvre, Paris, 1926, pl.18 (dated 1918)
Drawing and Design, vol.4, June 1928, repr. p. 161 (dated 1918)
A. Pfannstiel, Modigliani, Paris, 1929, pp. 22-23 of catalogue présumé, repr. foll. P.108 (dated 1917)
J. Modigliani, Modigliani: Man and Myth, New York, 1958, pp. 82-83
A. Ceroni, Amedeo Modigliani, Milan, 1958, no. 122, repr (dated 1917)
J.Russell, Modigliani [exh.cat], London, 1963, p.19 (picture discussed, but not in exhibition)
A. Ceroni, Amedeo Modigliani: dessins et sculptures, Milan, 1965, repr. pp. 18, 19 (installation photo’s of Galerie Bing exhibition)
A. Ceroni, I Dipinti di Modigliani, Milan, 1970, no. 186, repr. (dated 1917)
J. Lanthemann, Modigliani: catalogue raisonnée, Barcelona, 1970, no.214, repr. p. 217 (dated 1917)
SRGM Handbook, 1970, repr. color p. 315 (dated 1917)
Rudenstine, Collection Catalogue, 1976, no. 186, repr.

This work has a complete provenance for the operative period 1933–45.

Amedeo Modigliani, Nude, 1917

X63530
Nude

1917
painting
Oil paint on canvas
unconfirmed: 890 x 1460 mm
Private Collection
Provenance:
The artist;
Leopold Zborowski, Paris;
Jacques Netter, Paris;
by descent from the above to the previous owner;
from whom acquired by a private collection, USA;
Acquired Sale, New York, Christie's, Tuesday 4 November 2003, Lot 29 by present owner, private collection

Nationality of artist: Italian
Identifying marks: signed 'Modigliani', lower left
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 316.

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Exhibition history:
Brussels, Palais des Beaux-Arts, Modigliani, November 1933, no. 15. (titled Grand nu couché).
Basel, Kunsthalle, Rétrospective Modigliani, January-February 1934, no. 7.
Paris, Musée des Arts Décoratifs, Cinquante ans de peinture française dans les collections particulières de Cézanne et Matisse, March-April 1952, no. 114.
Paris, Galerie Bernheim-Jeune, Le nu à travers les Ages, 1954.
Paris, Galerie Charpentier, Cent tableaux de Modigliani, 1958, no. 63 (illustrated, p. 34).
Marseille, Musée Cantini, Modigliani, June-July 1958, no. 21 (illustrated, p. 7).
Paris, Musée d'Art Moderne de la Ville de Paris, Amedeo Modigliani 1884-1920, March-June 1981, no. 53 (illustrated in color, p. 136).
Lausanne, Fondation de l'Hermitage, Les peintres de Zborowski: Modigliani, Utrillo, Soutine et leurs amis, June-October 1994, no. 19.
Selected Literature:
A. Salmon, Modigliani: sa vie et son oeuvre, Paris, 1926 (illustrated, pl. 22).
M. Schwarz, Modigliani, Paris, 1927, pl. VI (illustrated).
Amedeo Modigliani, exh. cat., Deutsche Kunst und Dekoration, Darmstadt, January 1931 (illustrated p. 237).
S. Taguchi, Modigliani, Tokyo, 1936, pl. 18 (illustrated).
J. Cocteau, Modigliani, Paris, 1950, pl. 15 (illustrated in colour). P. d'Ancona, Modigliani, Chagall, Soutine, Pascin, Milan, 1952, p. 22 (illustrated in colour).
A. Pfannstiel, Modigliani et son oeuvre, Paris, 1956, p. 129, no. 231.
J. A. Cartier, Modigliani nus, Paris, 1958, pl. 8 (illustrated).
A. Ceroni, Amedeo Modigliani, Milan, 1958, p. 61, no. 120 (illustrated in colour).
F. Russoli, Modigliani, Paris, 1958, pl. 27 (illustrated in colour). C. Geza, Modigliani, Budapest, 1969, pl. 32 (illustrated).
J. Lanthemann, Amedeo Modigliani 1884-1920, Catalogue raisonné: sa vie, son oeuvre complet, son art, Barcelona, 1970, p. 198, no. 149 (illustrated).
A. Ceroni and L. Piccioni, I dipinti di Modigliani, Milan, 1970, p. 97, no. 184 (illustrated; illustrated again in colour, pl. XXXII).
J. Dalevèze, Modigliani, Lausanne, 1971, pl. 1 (illustrated).
D. Hall, Modigliani, Edinburgh, 1979, pl. 37 (illustrated).
Modigliani, exh. cat., Liège, 1980, p. 39 (illustrated).
T. Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Paris, 1987, p. 177 (illustrated). A. Ceroni, Amedeo Modigliani: Les nus, Düdingen, 1989, no. 11 (illustrated in colour, p. 59).
O. Patani, Amedeo Modigliani, catalogo generale: Dipinti, Milan, 1991, no. 198 (illustrated in colour, p. 208).
C. Parisot, Modigliani catalogue raisonné: peintures, dessins, aquarelles, Livorno, 1991, vol. II, no. 38 (illustrated in colour, p. 174).
A. Kruszynski, Amedeo Modigliani--Portraits and Nudes, New York, 1996 (illustrated in colour, p. 97). 


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Standing Blonde Nude (Nu blond), 1917

X63539
Standing Blonde Nude (Nu blond)

[Nu Blond] 1917
painting
Oil paint on canvas
unconfirmed: 920 x 650 mm
Private Collection
Provenance:
Léopold Zborowsi, Paris, acquired directly from the artist; Francis Carco, Paris, (gift from the above) by 1919 [1]; Jos Hessel, Paris (1859–1942) [2] [3] [4]; Galerie E. Druet, Paris (sale: Hôtel Druout, Paris, 2nd March, 1939, lot 158) [5]; Roger Dutilleul, Paris (1873—1976); Jean Masurel (1908—1991), Paris, by 1945 [6] [7]; Private collection, possibly heirs of Masurel; Private collection, c.1998 [8]; [Unsold Christie’s New York, November 19 1998, lot 337, Bought In.]
[1] Carco writes about owning this painting in his memoir The Last Bohemia: From Montmartre to the Latin Quarter, pp.235—247, Paris 1928)
[2] The cousin of Josse and Gaston Bernheim of Galerie Bernheim-Jeune, where he was a director, Hessel was an art dealer and collector who worked closely with artists including Edouard Vuillard; from 1907 until 1941 he worked closely with dealer Paul Rosenberg (per correspondence in MoMA archives). According to F.Accominotti in Market and Hierachy, Hessel hardly ever bought directly from artists or individuals but through the secondary market.
[3] Kunsthalle Basel 1934, no. 57 (not illustrated) is titled La môme haricot rouge, dated 1918, 910 x 650 mm, credited to J. Hessel, Paris.
[4] Hessel also acquired at this sale Amedeo Modigliani, Little Servant Girl, c.1916–17. (https://collections.artsmia.org/art/10458/little-servant-girl-amedeo-modigliani) accessed August 2017.
[5] The liquidation sale of the Galerie Druet collection. On 27 February 1939, the newspaper L'Intransigeant noted that this sale was administered by Mme. Bellier assisted by M. Scheller. Illus. no 158. ‘Galerie E. Druet, was founded by Alfonse Eugène Druet (1867–1919) in 1903 at 114, rue du Faubourg-Saint-Honoré. It moved to the rue Royale in 1908. After Druet's death in 1919, the gallery was run by his wife until 1938, when it was closed.’ Source: https://www.doaks.org/resources/bliss-tyler-correspondence/annotations/galerie-e-druet
[6] Jean Masurel is the nephew of Roger Dutilleuel. A large portion of the collection was donated to Lille in 1979. Since 1983, those holdings have been housed in the Lille Métropole musée d’art moderne, d’art contemporain et d’art brut. Upon Masurel’s death in 1991, Geneviève and the couple’s five children inherited the remainder of the collection. Source: Index of Historic Collectors and Dealers of Cubism, The Metropolitan Museum of Art, New York, January 2015 (accessed August 2017); Donation Jean et Geneviève Masurel à la Communauté Urabaine de Lille. Villeneuve D’Ascq: Musée D’Art Moderne, 1984
[7] From Lille 2016: [Dutilleul] contributed notably to …the Modigliani retrospective at the Galerie de France from December 1945 through January 1945. Dutilleul lent twelve paintings from this show … his brother in law and nephew also lent the Concierge’s Son and Blonde Nude.
[8] The work was acquired by the present owner shortly before the Christie’s sale.
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 193

Exhibition history:
Paris, Galerie Berthe Weill, ‘Modigliani’ 1917
Brussels, Palais des Beaux Arts, 1933, ill. no. 66
Basel, Kunsthalle Basel, ‘Modigliani’, 1934
Paris, Galerie de France, 1945
Paris, Musée d'art Moderne, 1950
Basel, Bâle Musée, 1957
Paris, Musée d'art Moderne, 1981
Selected Literature:
L’Eventail, Geneva, 1919
F.Carco The Last Bohemia: From Montmartre to the Latin Quarter (Paris 1928)
Y. Sonabel The Little Library of Art: Modigliani Nudes, New York 1958
This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Nude, 1917

X65466
Nude

1917
painting
Oil paint on canvas
unconfirmed: 994 x 641 mm
Private Collection
Provenance:
The artist;
Galerie Bing &amp; Cie, Paris;
Galerie Bernheim-Jeune, Paris, likely by 1922 [1];
Jacques Netter (1911–1981), Paris, likely by 1958 [2];
Perls Galleries, New York, by 1966;
Private Collection, New York, by 1970 [3];
Galerie de l'Elysée Alex Maguy, Paris;
By descent to a private collection, France;
Christie’s New York: Impressionism and Modern Art, 8 November 2006 ‘Property from a French Private Collection’
Private collection;
Acquired from the above by the present owner, an anonymous collector, 2015.
[1] ‘Exposition Modigliani’ was held at Galerie Bernheim-Jeune 1922
[2] This work is credited to a ‘Private Collection’ in Galerie Charpentier 1958
[3] This work is credited to ‘Private Collection, New York’ in Piccioni and Ceroni 1970

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, lower right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 189

Exhibition history:
Paris, Galerie Berthe Weill, Exposition des Peintures et Dessins de Modigliani, December 1917
Paris, Galerie Charpentier, Cent Tableaux de Modigliani, 1958, no. 85, illustrated (dated 1918)
New York, Perls Galleris, The Nudes of Modigliani, 11 October – 12 November 1966, no. 4, ill. in colour
New York, Gagosian Gallery, Nudes: from Modigliani to Currin, 20 September – 19 November 2016, p.48, p.49, illustrated in colour; p. 169, ill. in colour (installation photo); no. 49, p.183, ill. in colour

Selected Literature:
Raffaello Franchi, Modgiliani (Florence: Arnaud, 1946), no. XIV, p. 44, illustrated
Jean Cocteau, Modgiliani (Paris: Fernand Hazan: 1950), p. 5, illustrated in color (titled "Medicis" Nude)
Alfred Werner, Amedeo Modigliani (New York: Abrams, 1966), no. 14, p. 19, illustrated
Nello Ponente, Modigliani (Florence: Sadea/Sansoni, 1969), no. 62, illustrated
Ambrogio Ceroni and Leone Piccioni, I Dipinti di Modigliani (Milan: Rizzoli, 1970), no.189, p. 97, illustrated (titled Nu Debout)
J. Lanthemann, Modigliani, 1884-1920: Catalogue Raisonné, sa vie, son oeuvre complet, son art (Barcelona: Gráficas Condal, 1970), no. 163, p. 118; no. 163, p. 203 illustrated (titled Nu Debout)
Gaston Diehl, Modigliani (Näfels, Switzerland: Bonfini Press, 1979), p. 79, illustrated in color (dated 1918)
Osvaldo Patani, Amedeo Modigliani: Catalogo Generale (Milan: Leonardo, 1991), Vol.1, no. 193, p. 203, illustrated in color (titled Nudo in piedo (Venere))
Anette Kruszynski, Amedeo Modigliani: Portraits and Nudes, (London, Pegasus Library, 1996), ill. in colour p.87
Frances Alexander, Amedeo Modigliani (New York: Parkstone Press, 2000), p. 18,illustrated; no. 9, p. 19 (titled Standing Nude (Venus))
Jeffrey Meyers, Modigliani: A Life (Orlando: Harcourt, 2006), p. 190 (titled Standing
Nude (Venus))
Christian Parisot, Modigliani: Catalogue Raisonné, Volume 5: Sculptures, Peintures,
Dessins (Poggibonsi: Forma Edizioni, 2012), no. 56/1916,

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Seated Nude (La belle romaine), 1917

X67342
Seated Nude (La belle romaine)

1917
painting
Oil paint on canvas
unconfirmed: 1000 x 650 mm
Private Collection
Provenance:
X67342
Amedeo Modigliani, Italian 1884–1920
Seated Nude (La Belle Romaine), 1917
Oil paint on canvas
1000 x 650 mm

Provenance
The artist;
Léopold Zborowski (1889–1932), Paris;
Dr. Raymond-Jacques Sabouraud, Paris (most likely acquired from the above and until his death in 1938); [1] [2]
Private collection (possibly the estate of Dr. Raymond-Jacques Sabouraud) [3];
Georges Renand, Paris, before 1981 [4];
Private Collection;
Collection Georges Renand: Exceptionnels Tableaux Modernes, Drouot-Montaigne, Paris, 20 November 1987, lot 6;
Private collection, Asia;
Sotheby's, New York, November 11, 1999, lot 125;
Private collection, Europe;
Impressionist &amp; Modern Art Evening Sale, 02 November 2010, Sotheby’s New York, lot 7;
Private collection.

[1] ‘Raymond-Jacques Sabouraud renowned dermatologist of the Hôpital Saint-Louis, Paris, was an amateur sculptor and painter. He was a friend of Odilon Redon, who painted his portrait, and also a major art collector who owned at least nine Modiglianis (see Bénézit, Dictionnaire, 1999, "Sabouraud", and letter from Marie-Christine Decroocq, Wildenstein Institute, 9 January 2003, in curatorial file). Oddly, Émile Sabouraud's (1900–1996) notes for Stern give his father's death date incorrectly as 1937.’ Provenance notes for a different work by Amedeo Modigliani, Portrait of a Polish Woman 1919, Philadelphia Museum of Art, http://www.philamuseum.org/collections/permanent/59575.html, accessed August 2017.
[2] Sabouraud owned multiple Modiglianis. His name is included in the provenance for Ceroni 266 La petite laitère in Cincinnati 1959
[3] Sabouraud’s children are Émile Sabouraud (1900–1996) and Cécile de Brunhoff (1903–2003). In Franchi, Ceroni, Werner the collection is given as ‘Private Collection, Paris’.
[4] In Paris 1981 the work is credited to ‘Private Collection, Paris’, with George Renaud listed as the most recent provenance.
[5] ‘Georges Renand (1879–1968) was the director of the Parisian department store La Samaritaine and the president of the Fondation Cognacq-Jay. According to the records of the Roberts Commission, the Renand collection of nineteenth- and twentieth-century paintings remained in Paris throughout the war. A series of posthumous sales were held in 1987 and 1988.’ (source: http://www.lostart.de/EN/Fund/532963)

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, lower right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972, No. 192.
Alternative titles: Nu assis; Nu assis sur un divan; Nu assis au divan; Sitzender Akt


Exhibition history:
Zürich, Kunsthaus, 1927, Italienische Maler, no. 106
Paris, Galerie Charpentier, 1946, Cent chefs-d'oeuvre des peintres de l'Ecole de Paris
Paris, Galerie Charpentier, 1947, Cent chefs-d'oeuvre d'art francais, ill. in colour in the catalogue
Paris, Musée national d'Art Moderne, 1950, L'Art Moderne Italien, no. 49 (titled Nu assis)
Rome, VI Quadriennale Nazionale d'Arte, 1951–52, Amedeo Modigliani, no. 13
Livorno, Rivista di Livorno, 1954, Omaggio a Amedeo Modigliani, ill. pl. 14
Tokyo; Osaka; Sapporo; Nagoya, Mitsukoshi, 1978, La Ruche-Ecole de Paris et Montparnasse, no. 56
Paris, Musée Jacquemart-André, 1978–79, La Ruche et Montparnasse, no. 94
Paris, Musée d'Art Moderne de la Ville de Paris, Amedeo Modigliani, 1981, no. 54, ill. in colour in the catalogue (titled Nu assis sur un divan, La Belle Romaine)
Museo Progressivo d'Arte Contemporanea, 1984, Modigliani, gli anni della scultura, no. 23A, ill. p. 123
Düsseldorf, Kunstsammlung Nordrhein-Westfalen &amp; Zürich, Kunsthaus, 1991, Amedeo Modigliani, Malerei, Skulpturen, Zeichnungen, no. 62, ill. in colour in the catalogue (titled Nu assis)

Selected Literature:
Maurice de Vlaminck, Modigliani, L'Art Vivant, Paris, 1925 [per Pfannsteil]
"Gemälde von Modigliani," Deutsche Kunst und Dekoration, Darmstadt, July 1925, ill.
André Salmon, Modigliani, sa vie et son oeuvre, Paris, 1926, ill. pl. 6
Mark Schwartz, Modigliani, Paris, 1927, ill. pl. XI
Arthur Pfannstiel, Modigliani, Paris, 1929, p. 24
Michel Georges-Michel, Les Montparnos, Paris, 1929 (revised edition), ill. p. 189
"Amedeo Modigliani," Deutsche Kunst und Dekoration, Darmstadt, January 1931, ill. p. 245
René Huyghe, French paintings, the Contemporaries, Paris, 1940, ill. pl. 6
Georges Besson, 1900–1940, Amplepuis-Rhône, 1944, ill. pl. 18
Rafaello Franchi, Modigliani, Florence, 1944, ill. pl. 11
Rafaello Franchi, Modigliani, Florence, 1946, ill. pl. XIX
Pierre Descargues, Modigliani, Paris, 1951, ill. on the cover
Enzo Carli, Modigliani, Rome, 1952, ill. pl. 17 and on the cover
Paolo d'Ancona, Modigliani, Chagall, Soutine, Pascin - Aspetti dell'Espressionismo, Milan, 1952, ill. pl. 18
Paul Ferdinand Schmidt, Geschichte der Modernen Malerei, Zürich, 1952, ill. pl. 16
Georges Poisson, La donna nella pittura francese moderna, Novara, 1955, ill. pl. 44/a
E. Lavavigno, L'Arte Moderna, vol. II, Turin, 1956, ill. p. 1033
Arthur Pfannstiel, Modigliani et son oeuvre, Etude critique et catalogue raisonné, Paris, 1956, no. 147, fig. 31, ill. p. 114
Marcel Brion, La peinture moderne de l'Impressionnisme et l'art abstrait, Paris, 1957, ill. p. 81
Jean-Albert Cartier, Modigliani- Nus, Paris, 1958, ill. pl. 15
Ambrogio Ceroni, Amedeo Modigliani, Peintre, Milan, 1958, no. 129, ill. in colour pl. 129 (titled Nu assis (au divan) and dated circa 1917–18)
Franco Russoli, Modigliani, London, 1959, ill. pl. 21
Corrado Pavolini, Modigliani, Milan, 1966, ill. pl. 14
Alfred Werner, Amedeo Modigliani, New York, 1968, ill. p. 135
Gaston Diehl, Modigliani, Lugano, 1969, ill. p. 69
Csorba Geza, Modigliani, Budapest, 1969, ill. pl. 15
Nello Ponente, Modigliani, Florence, 1969, no. 50
Ambrogio Ceroni &amp; Leone Piccioni, I dipinti di Modigliani, Milan, 1970, no. 192, ill. p. 97 and pl. XXXIII (as dating from 1917)
Joseph Lanthemann, Modigliani, 1884–1920- Catalogue raisonné, sa vie, son oeuvre complet, son art, Barcelona, 1970, no. 141, ill. in colour p. 196 (titled Nu assis)
Ambrogio Ceroni &amp; Françoise Cachin, Tout l'oeuvre peint de Modigliani, Paris, 1972, no. 192, ill. p. 97 and in colour pl. XXXIII
Carol Mann, Modigliani, London, 1980, no. 102, ill. p. 142
Bernard Zurcher, Modigliani, Paris, 1980, ill. pl. 39-40
Gaston Diehl, Modigliani, New York, 1985 (revised edition), ill. p. 59
Claude Roy, Modigliani, Geneva, 1985, ill. pp. 100, 104 and in colour on the dust jacket
Alfred Werner, Amedeo Modigliani, New York, 1985, ill. p. 107
Thérèse Castieau-Barrielle, La vie et l'oeuvre de Amedeo Modigliani, Paris, 1987, ill. in colour p. 149
Angela Ceroni, Amedeo Modigliani- Les Nus, New York, 1989, no. 18, ill. in colour p. 71
Christian Parisot, Modigliani, catalogue raisonné, peintures, dessins, aquarelles, vol. I, Livorno, 1990, ill. p. 152; vol. II, 1991, no. 33/1917, ill. in colour p. 169 (Nu assis sur le divan (La Belle Romaine))
Werner Schmalenbach, Amedeo Modigliani, Paintings, Sculptures and Drawings, Munich, 1990, ill. pl. 62
Osvaldo Patani, Amedeo Modigliani, Catalogo generale, Milan, 1991, no. 195, ill. in colour p. 205 (titled Nudo seduto su un divano)
Gaston Diehl, Modigliani, Lugano, 1996 (revised edition), ill. p. 59
Victoria Soto Caba, Modigliani, El rostro intemporal, Madrid, 2008, ill. in colour p. 328

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking

Amedeo Modigliani, La Belle Épicière, 1918

X63485
La Belle Épicière

1918
painting
Oil paint on canvas
unconfirmed: 1000 x 651 mm frame: 1240 x 895 x 105 mm
Nahmad Collection, Monaco
Provenance:
Paul Guillaume (1891–1934), Paris [1] acquired directly from the artist; Madame. Walter, Paris by inheritance from the above [2], until at least 1950 [3]; Madame. Bourdon, Paris, by 1955 [4]; By whom sold at auction, Collection De Madame Bourdon et A Divers Amateurs, Etude Loudmer, Paris, March 25 1990 [5]; from whom acquired by the present owner, Nahmad Collection, Monaco.
[1] Listed in Venice 1930 exhibition catalogue as ‘La jolie epicière’, collection Paul Guillaume, Paris
[2] ‘From 1914 until his [Paul Guillaume’s] death in 1934, he amassed an extraordinary collection of several hundred paintings, from Impressionism to Modern Art, along with pieces of African art. When he died, at the height of his career, rich and famous throughout Europe and in America, he was planning to found a museum. His widow Domenica, remarried to the architect Jean Walter, transformed and reduced the collection while also making new acquisitions.’ http://www.musee-orangerie.fr/en/article/history-jean-walter-paul-guillaume-collection accessed August 2017
[3] Listed in Schweiller 1950, XXIV, as ‘La bella Commessa’ 1918, Paris, Collection Vedova [Widow] Paul Guillaume (illustrated).
[4] Listed in Bern 1955 exhibition catalogue as ‘Madame Bourdon, Paris’, repr. Schweiller I, 5, and Schweiller II, 24.
[5] This work is listed in an article about the Bourdon 1990 sale, ‘Auction King Jailed’ http://www.artnet.com/magazine_pre2000/news/darmon/darmon10-28-97.asp (accessed August 2017)

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’ upper right
Place of manufacture: South of France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 256

Exhibition history:
Venice, XVII Exposizione Biennale Internazionale d'Arte, Mostra Individuale di Amedeo Modigliani, 1930
London, Arthur Tooth and Sons, Amedeo Modigliani 17 March –9 April 1938, no. 24 ‘La Jolie Épiciere, 1916’, repr. Scheiwiller 1932, pl.5, Pfansteil 1929, p.17 Paris, Musée d'Art Moderne, Art Moderne Italien, 1950
London, Tate Gallery, Modern Italian Art, 1950, no. 65 (Private Collector, Paris)
Paris, Galerie Charpentier, Plaisirs de la campagne, 1954, no.115 [no collection given]
Bern, Kunsthalle, Modigliani, Campligli, Sironi, 1955
Paris, Musée d'Art Moderne, Depuis Bonnard, 1957, no.136
Paris, Galerie Charpentier, Cent tableaux de Modigliani, 1958, no.35
Dusseldorf, Kunstsammlung Nordrhein-Westfalen, Zurich, Kunsthaus, Amedeo Modigliani Malerei-Skulpturen-Zeichnungen, 1991, no.87 (illustrated in colour)
Lugano, Museo d'Arte Moderna, Amedeo Modigliani, 28 March - 27 June 1999, p. 202, no. 62 (illustrated)
New York, The Jewish Museum, Modigliani. Beyond the Myth, 21 May- 19 September 2004, no. 76, p.160 (illustrated in colour); Art Gallery of Ontario, 23 October 2004 - 23 January 2005; Washington, D.C.,The Phillips Collection, 19 February - 29 May 2005
London, The Royal Academy of Art, Modigliani and his Models, 8th July – 15th October 2006, no. 32, p.116 (illustrated in colour)

Selected Literature:
A. Pfannstiel, Modigliani, Paris, 1929, p.17/II
G. Scheiwiller, Modigliani, Milan, 1932, (illustrated pl.5), 1936, (illustrated pl.VI), 1942, (illustrated pl.6); 1950 (illustrated pl.24)
M. Raynal, Modigliani, Geneva, 1951 (illustrated pl.6)
G. di San Lazzaro, Modigliani, Paris, 1953, pl.5 (illustrated)
A. Pfannstiel, Modigliani et son oeuvre, catalogue raisonné, Paris, 1956, p.77, no.66 (illustrated)
Claude Roy, Modigliani, Geneva, 1958, p.62 (illustrated)
A. Ceroni, Amedeo Modigliani, Milan, 1958, no.102 (illustrated)
N. Ponente, Modigliani, Florence, 1909, n.70
T. Lanthemann, Modigliani: catalogue raisonné: sa vie, son oeuvre complet, son art, Barcelona, 1970, p.256, no.365 (illustrated)
F. Cachin and A. Ceroni, Tout l'oeuvre peint de Modigliani, Paris, 1972, no.256 (illustrated pl.XII)
Carol Mann, Modigliani, London, 1980, (illustrated pl.136)
Osvaldo Patani, Amedeo Modigliani: Catalogue Generale Dipinti, Milan, 1991, p.272, no.209 (illustrated)

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Marie (Marie, fille du peuple), 1918

X63498
Marie (Marie, fille du peuple)

1918
painting
Oil paint on canvas
unconfirmed: 612 x 498 mm frame: 785 x 675 x 80 mm
Kunstmuseum Basel, Bequest Dr. Walther Hanhart, Riehen, 1975
Provenance:
Léopold Zborowski, Paris, acquired directly from the artist [1]
Collection of Dr Sabouraud (1864–1938) by 1926;
By descent to the estate of Dr Sabouraud up to at least 1950 [2] [3]
Galerie Raeber, Basel, 1955 or earlier [4]
Dr. Walther Hanhart, Riehen by 1955 [5]
Kunstmuseum Basel, Vermächtnis Dr. Walther Hanhart, Riehen 1975
Inventory nr. G 1975.8 [6]
[1] Raffaello Franchi, 1946, cites coll. Sabouraud previously Zborowski, p.44
[2] ‘Raymond-Jacques Sabouraud (1926 – 1956) renowned dermatologist of the Hôpital Saint-Louis, Paris, was an amateur sculptor and painter. He was a friend of Odilon Redon, who painted his portrait, and also a major art collector who owned at least nine Modiglianis (see Bénézit, Dictionnaire, 1999, "Sabouraud", and letter from Marie-Christine Decroocq, Wildenstein Institute, 9 January 2003, in curatorial file). Oddly, Émile Sabouraud's (1900–1996) notes for Stern give his father's death date incorrectly as 1937.’ Provenance notes for a different work by Amedeo Modigliani, Portrait of a Polish Woman 1919, Philadelphia Museum of Art, http://www.philamuseum.org/collections/permanent/59575.html, accessed August 2017.
See also: Parisot 1990/1991, S. 328; Franchi 1946, S. 44; Salmon 1926;
[3] All checked catalogues and books cite Sabouraud as the owner of the work from the period 1926–1950. Whilst Sabouraud died in 1938 his son, Émile Sabouraud, lived from 1900–1996.
[4] See provenance in 1981 catalogue Musée d’art Moderne de la Ville de Paris, and Kunsthaus Zürich 1973
[5] See exh. Catalogue Musée Jenisch, 2 July – 30 September 1955
[6] 1956 - 1975 Dr. Walter Hanhart, Riehen (Pfannstiel 1956, S. 134)
Lender’s address: St. Alban-Graben 16, 4051 Basel, Switzerland

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper right cv
Place of manufacture: Nice
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 253

Exhibition history:
Musée d’art Moderne de la Ville de Paris XXe Anniversaire, 26 mars – 28 juin 1981, illustrated in the catalogue p. 142, plate 61

Literature:
André Salmon: Modigliani. Sa vie et son œuvre, Paris: Ed. des Quatre Chemins, 1926, Nr. 29, Abb. 29
Zürich, Kunsthaus, Italienische Maler, 1927, no. 105 (illustrated)
Arthur Pfannstiel: L’Art et la Vie Modigliani, Paris, 1929, p.37
Catalogo XVIIa Esposizione Biennale Internazionale d'Arte, Venezia: Ferrari, 1930, Nr. 28
Modigliani, Ausst.-Kat. Kunsthalle Basel 7. Jan. – 4. Febr. 1934, Basel: Kunsthalle, 1934, Nr. 51
Raffaello Franchi: Modigliani, Firenze: Arnaud, [1946], S. 32–33, 44
René Huyghe: Les contemporains, Paris: Pierre Tisné, 1949, Nr. 44
Giovanni Scheiwiller: Arte Moderna Italiana No. 8 Amedeo Modigliani , 1950, Tav. XIX
Pierre Descaruges: Amedeo Modigliani (1884-1920), Led Editions Braun et C1E, Prias, 1951 p. 44
Arthur Pfannstiel: Modigliani et son œuvre. Étude critique et catalogue raisonné (Souvenirs et documents, Bd. 6), Paris: La bibliothèque des arts, 1956, Nr. 240, Abb. Umschlag, S. 38
Basler Privatbesitz, Ausst.-Kat. Kunsthalle Basel, 4. Juli – 29. Sept. 1957, Basel: Kunstverein, 1957, Nr. 220, mit Abb. (n. p.)
Ambrogio Ceroni: Amedeo Modigliani, peintre. Suivi des "souvenirs" de Lunia Czechowska, Milano: Ed. del Milione, 1958, Nr. 97
Cent tableaux de Modigliani, Ausst.-Kat. Paris: Galerie Charpentier, 1958, Nr. 77, mit Abb.
Leone Piccioni und Ambrogio Ceroni: I dipinti di Amedeo Modigliani (Classici dell'Arte), Milano: Rizzoli Editore, 1970, Nr. 253
Joseph Lanthemann: Modigliani, 1884–1920. Catalogue raisonné. Sa vie, son œuvre complet, son art, Barcelona: Gráficas Condal, 1970, Nr. 315
Amedeo Modigliani 1884–1920, Ausst.-Kat. Musée d'art moderne de la Ville de Paris, 26. März – 28. Juni 1981, Paris: Musée d'art moderne de la Ville de Paris, 1981, Nr. 61
Modigliani, Ausst.-Kat. Tokyo, National Museum of Modern Art, 19. Juli – 29. Sept. 1985; Aichi Prefectural Art Gallery, 23. Okt. – 7. Nov. 1985, Tokyo: National Museum of Modern Art, 1985, Nr. 96
Christian Parisot: Modigliani. Catalogue raisonné. Hrsg. Giorgio und Guido Guastalla, mit Texten von Christian Parisot, Jeanne Modigliani und Fulvio Venturi, 2 Bde., Livorno: Graphis Arte, 1990, Nr. 22/1918
Amedeo Modigliani. Malerei – Skulpturen – Zeichnungen, Ausst.-Kat. Kunstsammlung Nordrhein-Westfalen, Düsseldorf, 19. Jan. – 1. April 1991; Kunsthaus Zürich, 19. April – 7. Juli 1991, mit Beiträgen von Werner Schmalenbach, München: Prestel, 1990, S. 39, Nr. 70, Abb. Tf. 68
Jahresbericht der Öffentlichen Kunstsammlung Basel für das Jahr 1975, Basel: Kunstmuseum, 1991, S. 23, 27, Abb. 14
Öffentliche Kunstsammlung Basel. 20. Jahrhundert, Basel: Öffentliche Kunstsammlung, 1997, Abb. S. 168
Pedro Azara: El ojo y la sombra. Una mirada al retrato en Occidente, Barcelona: Editorial Gustavo Gili, 2002, Abb. (n. p., Buchmitte)
Amedeo Modigliani. L'angelo dal volto severo, Ausst.-Kat. Palazzo Reale, Mailand, 21. März – 6. Juli 2003, mit Beiträgen von Marc Restellini, Hrsg. Palazzo Reale, Mailand: Skira, 2003, S. 38, Abb. S. 37
Kenneth Wayne: Modigliani and the artists of Montparnasse, Harryn N. Abrahms, INC., Publishers in association with the Albright-Knox Art Gallery Buffalo, New York, 2003, p. 105
Modigliani and His Models, Ausst.-Kat. Royal Academy of Arts, London, 8. Juli – 15. Okt. 2006, London: Royal Academy of Arts, 2006, Nr. 34, Abb. S. 118
Kunstmuseum Basel. Die Meisterwerke. Gemälde, Skulpturen, Fotografien, Installationen, Videos, Hrsg. Bernhard Mendes Bürgi und Nina Zimmer, Ostfildern: Hatje Cantz, 2011, S. 164, Nr. 78, Abb. S. 165
Modigliani et l'école de Paris. En collaboration avec le Centre Pompidou et les Collections Suisses, Ausst.-Kat. Fondation Pierre Gianadda, Martigny, 21. Juni – 24. Nov. 2013, Hrsg. Fondation Pierre Gianadda, Martigny, 2013, S. 62, Nr. 19, mit Abb.


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Standing Nude (Elvira), 1918

X63499
Standing Nude (Elvira)

1918
painting
Oil paint on canvas
unconfirmed: 920 x 600 mm
Kunstmuseum Bern, Gift of Walter and Gertrud Hadorn, Bern, 1977
Provenance:
Léopold Zborowski, acquired directly from the artist;
until 1919 sold to Dr. Sabouraud (d. 1938), Paris (exhibited in 1933 in Brussels and 1934 in Basel as property of Dr. Sabouraud);
Galerie Henri Bing, Paris; sold to:
Walter and Getrud Hadorn, Bern, 1945 until 1977;
Kunstmuseum Bern, since 1977; gift from Walter and Gertrud Hadorn [1]
[1] Donated to the museum after the exhibition Sammlung Hadorn, Kunstmuseum Bern. See Schenkungsvertrag 15 July 1977, archive Kunstmuseum Bern.

Lender’s address: Hodlerstrasse 8-12, CH-3011 Bern, Switzerland

Nationality of artist: Italian
Identifying marks: signed 'Modigliani', upper right
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 272

Exhibition history:
Modigliani, Palais des Beaux-Arts, Brussels (1933), no. 41.
Modigliani, exh. cat., Kunsthalle Basel (1934), no. 33.
Europäische Kunst aus Berner Privatbesitz, Kunsthalle Bern (1953), no. 90.
European Master Paintings from Swiss Collections: Post-Impressionism to World War II., The Museum of Modern Art, New York (1976)
Sammlung Hadorn, Kunstmuseum Bern (1977), no. 112.
Modigliani a Montparnasse 1909–1920, Galleria d’Arte Moderna e Contemporanea, Palazzo Forti, Verona (1988).
Amedeo Modigliani: Paintings, Sculptures, Drawings, Kunstsammlung Nordrhein-Westfalen, Düsseldorf, and Kunsthaus Zürich (1990), no. 66.
Modigliani et l’Ecole de Paris, Fondation Pierre Gianadda, Martigny (2013)
Modern Masters: "Degenerate" Art at the Kunstmuseum Bern, Kunstmuseum Bern (2016)

Literature:
"Gemälde von Modigliani," Deutsche Kunst und Dekoration, Darmstadt, July 1925, illustrated, p.219
Andre Salmon, Modigliani, sa vie, son œuvre. Paris : 1926, pl.31
Arthur Pfannstiel, Modigliani : Catalogue Présumé. Paris : 1929, p.53
Adolphe Basler, Modigliani. Paris: 1931, couv.
Modigliani, (exh.cat.). Palais des Beaux-Arts, Brussels (1933), no. 41.
Modigliani, (exh.cat.). Kunsthalle Basel (1934), no. 33.
S.Taguchi, Modigliani. Tokyo 1936, pl.26
Rafaello Franchi, Modigliani. Florence: 1944, pl.30
Raffaello Franchi, ed., Modigliani (Florence, 1946), no. 47 and p. 45.
Europäische Kunst aus Berner Privatbesitz (exh.cat.). Kunsthalle Bern (1953), no. 90.
Arthur Pfannstiel, Modigliani et son œuvre. Etude critique et catalogue raisonné (Paris, 1956), no. 338.
Claude Roy, Modigliani (The Taste of our Time). Paris : Editions d’Art Albert Skira, 1958. Ill.p.85.
Ambrogio Ceroni, Amedeo Modigliani, Dessins et Sculptures avec Suite de Catalogue Illustré des Peintures. Milan : Edizioni del Milione, 1965. No. 207, ill.
I dipinti di Modigliani, comp. Ambrogio Ceroni (Milan, 1970), no. 272.
Joseph Lanthemann, Modigliani 1884–1920: Catalogue raisonné – Sa vie, son œuvre complet, son art (Barcelona, 1970), no. 325, ill. p. 245
John Elderfield, European Master Paintings from Swiss Collections: Post-Impressionism to World War II (exh.cat.). The Museum of Modern Art, New York (1976), pp. 130–31 and 169.
Sammlung Hadorn (exh.cat.). Kunstmuseum Bern (1977), no. 112.
Bernard Zurcher, Modigliani. London: Eyre Methuen LTD (1981), no. 59, ill.
Modigliani a Montparnasse 1909–1920 (exh.cat.). Galleria d’Arte Moderna e Contemporanea, Palazzo Forti, Verona (1988), p. 82.
Angela Ceroni, Amedeo Modigliani: Die Akte (Stuttgart, 1989), no. 29.
Werner Schmalenbach, Amedeo Modigliani: Paintings, Sculptures, Drawings, trans. Caroline Beamish, Brian Binding, David Britt and Peter Underwood (exh.cat.). Kunstsammlung Nordrhein-Westfalen, Düsseldorf, and Kunsthaus Zürich (1990), p. 52 and no. 66.
Christian Parisot, Modigliani: Catalogue raisonné – Peintures, dessins, acquarelles, vol. 2 (Livorno, 1991), no. 16/1918.
Osvaldo Patani, Amedeo Modigliani: Catalogo generale – Dipinti (Milan, 1991), no. 284.
Christian Parisot, Modigliani. Paris: Finest S.A. / Editions Pierre Terrail, 1992. Ill. P. 125.
Stephen Butler, Modigliani (London, 1994), pp. 102–03.
Catherine Grenier, ed., Modigliani et l’Ecole de Paris (exh.cat.). Fondation Pierre Gianadda, Martigny (2013), pp. 64–65, ill. on cover.
Krystof, Doris. Amedeo Modigliani, 1884-1920: the poetry of seeing. Cologne: Taschen, 2015. Ill. P. 62.
Matthias Frehner and Daniel Spanke, eds., Modern Masters: "Degenerate" Art at the Kunstmuseum Bern (exh.cat.). Kunstmuseum Bern (2016), pp. 234 and 350.

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Young Woman of the People, 1918

X63506
Young Woman of the People

1918
painting
Oil paint on canvas
unconfirmed: 895 x 641 mm
Los Angeles County Museum of Art, Frances and Armand Hammer Purchase Fund
Provenance:
The artist;
Leopold Zborowski, Paris, in 1929;
André Lefèvre, Paris, by 1937;
Acquired at Sale, Paris, Paris Galliera, ‘Collection Andre Lefevre: Tableaux Modernes’, 25 Nov. 1965, lot 67, sold for Fr. 1,200,000 to: Hammer Galleries, New York;
Collection of Frances and Armand Hammer New York;
Los Angeles County Museum of Art, Gift of Frances and Arman Hammer, 1968.
Lender’s address: 5905 Wilshire Blvd, Los Angeles, CA 90036, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani', upper right
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 316.


Exhibition history:
Petit-Palais, Paris, Les Maitres de l’Art Independants, 1895-1937, June – October, 1937.
Musee National d’Art Moderne, Paris, L’Oeuvre du XX Siecle, May – June, 1952.
The Arts Council, London, XXth Century Masterpieces, 1952.
Musee National d’Art Moderne, Paris, March – April, 1964.
Palais des Beaux-Arts de Bruxelles, Collection Andre Lefevre.
Hammer Galleries, Fortieth Anniversary Loan Exhibition, 1928-1968, November – December, 1968.
Brooks Memorial Art Gallery, Memphis, Tennesee, Dr. Armand Hammer’s Private Collection Exhibition, October – December, 1969.
Museum of Natural History, Smithsonian Institution, Washington DC, The Armand Hammer Collection, March – May 1970.
Isaac Delgado Museum of Art, New Orleans, The Armand Hammer Collection, August – September, 1970.
California Palace Legion of Honor, San Francisco, The Armand Hammer Collection, February – March 1971.
Fine Arts Gallery of San Diego, Hammer Collection, July – September, 1971.
Acquavella Galleries, New York, Amedeo Modigliani (For the Benefit of the Museum of Modern Art, New York), October – November 1971.
The Armand Hammer Collection: LACMA, December 1971 – February 1972; Royal Academy of Arts, London, June – July 1972; National Gallery of Ireland, Dublin, August – October 1972; USSR The Hermitage Leningrad, October – December 1972 and Pushkin Museum, Moscow, December 1972 – February 1973; State Museum of Fine Art of the Ukraine, Soviet Socialist Republic, Kiev, March 1973; State Fine Art Museum, Minsk, April – May 1973; State Museum of Foreign Fine Arts, Riga, June – July 1973; Fine Arts Museum, Odessa, July – August 1973.
Kunstsammlung Nordrhein-Westfalen, 1991.
Albright-Knox Art Gallery, Buffalo NY, October 2002 – January 2003.

Selected Literature:
The Armand Hammer Collection: October 2-December 30, 1969. Memphis: Brooks Memorial Art Gallery, 1969, plate no. 79.
Amedeo Modigliani; loan exhibition, October 14-November 13, 1971, for the benefit of the Museum of Modern Art, New York. New York: Acquavella Galleries, Inc., 1971, color reproduction plate no. 50.
Donahue, Kenneth. Los Angeles County Museum of Art Handbook. Los Angeles: Los Angeles County Museum of Art, 1977
Wayne, Kenneth. Modigliani and the Artist of Montparnasse. Buffalo, New York: The Buffalo Fine Arts Academy, 2002.
Muchnic, Suzanne. LACMA So Far: Portrait of a Museum in the Making. San Marino, California: Huntington Library, Art Collections, and Botanical Gardens, 2015.
Stanic Borislav, Museum Companion to Los Angeles: Special Collections, Historic Buildings, Libraries, Zoos, Museums, and Botanical Gardens. Museon Publishing, 1996, pp. 54-60.
Cover (reproduced in color), La Peinture Contemporaine, plate. 37.
Albert Skira, Modigliani, The Taste of Our Time, Lausanne, P.80, Skira Color Prints, Skira Inc., New York, plate 1.
Albert Skira, Les Tresors de la Peinture Francaise, Geneva, 1947.
Claude Roy, Modigliani, Editions D’Art Albert Skira, 1958, color reproduction.
Gualtieridi San Lazzaro, Modigliani: Portraits, 1957, color reproduction.
Masters of the XIXth and XXth Centuries, 1968, catalogue, color reproduction, plate no.39.
Raynal, Marice. Peintures du XXeme Siecle, Editions d’art Skira, Geneva, plate no. 38.
The Armand Hammer Collection, catalogue, color illustration, plate no. 45.
The World Museums Guide, Threshold / Sotheby Parke-Bernet, in association with Qantas Airways, illustration p. 263.
Leone Piccione and Ambrogio Ceroni, I dipinti di Modigliani. Milan: Rizzoli Editore, 1970. Nr.316, p.104, ill.


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Black Hair (Young Dark-Haired Girl Seated), 1918

X63514
Black Hair (Young Dark-Haired Girl Seated)

1918
painting
Oil paint on canvas
unconfirmed: 920 x 600 mm
Musée national Picasso-Paris. Donation in 1973. RF1973-81
Provenance:
Leopold Zborowski, Paris, acquired directly artist;
Paul Guillaume, Paris, in 1929 [1];
Pablo Picasso, Paris, probably 1930’s [2];
From whom donated to the present owner, Musée national Picasso-Paris, in 1973.
[1] Waldemar George 1929.
[2] Picasso Collectioneur 1998.

Lender’s address: 5 Rue de Thorigny, 75003 Paris, France

Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’ (upper right)
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 234

Exhibition history:
Amedeo Modigliani, Musée d’Art Moderne de la Ville de Paris, 26 March – 28 June 1981. No. 95.
Modigliani : Martigny (Suisse), Fondation Pierre Gianadda, 19 June 1990 - 28 October 1990
Amedeo Modigliani, Malerei, Skulpturen, Zeichnungen : Düsseldorf (Allemagne), Kunstsammlung Nordrhein-Westfalen, 19 January 1991 - 01 April 1991 // Zurich (Suisse), Kunsthalle, 19 April 1991 - 07 July 1991
Amedeo Modigliani : Kyoto (Japon), Daimaru Museum, 06 November 1992 - 24 December 1992
Picasso und seine Sammlung : Munich, Kunsthalle der Hypo-Kulturstiftung, 29 April 1998 - 16 August 1998
Roberto Tassi e i pittori : Trévise, Casa dei Carraresi, Centro Convegni de Esposizioni, 05 September 1998 - 08 December 1998
Modigliani and the Artists of Montparnasse : Fort Worth, Kimbell Art Museum, 09 Februari 2002 - 25 May 2003 // Buffalo, Albright-Knox Art Gallery, 18 October 2002 - 09 January 2003 // Los Angeles, Los Angeles County Museum of Art, 29 June 2003 - 28 September 2003
Modigliani : Beyond the myth : Washington, The Phillips Collection, 19 February 2005 - 29 May 2005
Modigliani : Moscow, The State Pushkin Museum of Fine Arts, 06 March 2007 - 07 June 2007
Picasso y su coleccion : Barcelona, Museu Picasso, 13 December 2007 - 31 March 2008
Picasso and his collection : Brisbane, Gallery of Modern Art, 09 June 2008 - 14 September 2008
La collection, nouvel accrochage : Paris, Musée national Picasso, 25 October 2008 - 30 June 2009
Amedeo Modigliani. Legend of Montparnasse : Séoul, Hangaram Art Museum of Seoul Arts Center, 26 June 2015 - 04 October 2015
Amadeo Modigliani. Une rétrospective : Villeneuve-d'Ascq, LaM. Lille métropole musée d'art moderne d'art contemporain et d'art brut, 26 February 2016 - 05 June 2016 // Budapest, Szépmüvészeti Muzeum, 28 June 2016 - 02 October 2016 // Helsinki, Ateneum Art Museum, 28 Octobre 2016 - 05 February 2017
 
 

Selected Literature:
André Salmon, Modigliani, Sa vie et son Oeuvre. Paris: Quatre Chemins, 1926. Ill.
Waldemar George, La grande peinture contemporaine a la collection Paul Guillaume. Paris: Arts a Paris, 1929.
Leone Piccioni and Ambrogio Ceroni, I Dipinti di Modigliani. Milan: Rizzoli Editore, 1970. No. 234, p.100, ill.
Donation Picasso: la collection personnelle de Picasso (exh.cat). Paris: Musée national du Louvre, 1978. P. 120, fig.26, p.64, ill. p.65.
Bernard Zurcher, Modigliani. London: Eyre Methuen Ltd, 1980. Ill. no. 85.
Amedeo Modigliani (exh.cat.). Musée d’Art Moderne de la Ville de Paris, 1981. No. 95, ill. p. 166 and p.34-35.
Dominique Bozo et al., Musée Picasso, Catalogue sommaire des collections (coll.cat). Paris: Editions de la Réunion des musées nationaux, 1985. Ill. p. 247.
Seckel-Klein, Picasso collectionneur (exh.cat). Paris: Edition de la Réunion des musées nationaux,
1998. -P. 269-270, ill. p.187.
Christian Parisot, Modigliani. Paris: Pierre Terrail, 1992, p.215, ill.
Picasso und seine Sammlung: Presseecho zur Ausstellung in der Kunsthalle des Hypo-Kulturstiftung in der Theatinerstrasse in München vom bis 30. April bis 16. August 1998 (exh.cat). Bonn: VG Bild-Kunst, 1998. No. 58, p.187, ill.
Kenneth Wayne, Modigliani and the Artists of Montparnasse (exh.cat.). New York: Harry N. Abrams, inc, 2002. No. 24, ill.p.101.
Mason Klein, Modigliani Beyond the Myth (exh.cat). New York: The Jewish Museum, 2002. Ill. plate 59, p. 143.
Werner Schmalenbach, Modigliani. Munich: Prestel Verlag, 2005. Ill. pl.75.
Modigliani (exh.cat). Moscow: Musée Pouckine, 2007. Fig.42, ill. p.75.
Hélène Klein (ed.), Picasso y su colección: exposición, Barcelona, Museu Picasso, 19 de diciembre de 2007 - 30 de marzo de 2008 (exh.cat). Barcelona: Institut de cultura, Ajuntament de Barcelona, c2007. P. 269-270, ill. p. 192.
Philippe, Picasso and his collection (exh.cat). Sydney: Art Exhibitions Australia South / Brisbane: Queensland Art Gallery / Paris: Musée national Picasso, 2008. Ill. p.55, p.155.
Anne Baldassari, Musée Picasso Paris. Paris: Musée Picasso: Flammarion, 2014. Ill. p. 549.
Modigliani : Legend of Montparnasse : [exposition, Hangaram Art Museum, Seoul Art Center, 26 june-4 october 2015] (exh.cat). Seou;: The Hankook Ilbo Cultural Project Center, 2015. Ill. p.123.
Doris Krystof, Modigliani, The Poetry of Seeing. Cologne: Taschen, 2015, p.88, ill.
Amedeo Modigliani (exh.cat). Helsinki: Ateneum Kansallisgalleria, 2016. P. 24, ill.

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Boy in Short Pants, c.1918

X63518
Boy in Short Pants

c.1918
painting
Oil paint on canvas
unconfirmed: 997 x 648 mm frame: 1270 x 920 x 60 mm
Dallas Museum of Art, gift of the Leland Fikes Foundation, Inc., 1977.1
Provenance:
Paul Guillaume (1891-1934) by 1934, Paris, acquired directly from the artist; Valentine Dudensing Gallery, New York, 1936-1937 likely acquired from Paul Guillaume’s widow Domenica Guillaume [1];
Lady Beatrice Lillie Peel (1894-1989), Henley-on-Thames, Oxfordshire, England, 1937-1975;
Stephen Hahn Gallery, New York, 1975;
purchased from the above’s sale, Impressionist and Modern Paintings and Sculpture, Christie’s, London, December 2, 1975, lot 64, as Le Garcon en Culottes; Acquavella Galleries Inc. New York by 1977;
Dallas Museum of Art, purchased from Acquavella through Valley House Gallery, Dallas, March 3, 1977. Gift of the Leland Fikes Foundation, Inc.


[1] Paul Guillaume died in 1934 and his widow (Domenica) started selling works from his collection in 1935, many through the Valentine Gallery beginning in 1936. Mme. Guillaume left many of the works with the Valentine Gallery and Valentine Dudensing loaned them out to shows until he sold them or returned them to her.

Lender’s address: 1717 N Harwood St, Dallas, TX 75201, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper right
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 255
Exhibition history:
Valentine Dudensing Galleries, New York, 1936
"Century of French Art," National Gallery of Scotland, Edinburgh, Scotland, 1944 cat. 224, as Portrait d’un garcon
"Festival of Jewish Arts," McLellan Galleries, Glasgow, Scotland, February 1951, cat. 89, as Le Jeune Garçon
"Dallas Collects: Impressionist and Early Modern Masters," Dallas Museum of Art, Dallas, "January 26-February 28, 1978, cat. 87
"Modigliani and the Artists of the Montparnasse," Albright-Knox Art Gallery, Buffalo, October 19, 2002 – January 12, 2003
Kimbell Art Museum, Fort Worth, February 9 – May 25, 2003; Los Angeles County Museum of Art, Los Angeles June 29 – September 28, 2003, no. 25 (color illus.)
"Modigliani Beyond the Myth," Toronto, Canada , Art Gallery of Ontario, October 23 2004 – January 23, 2005; Washington, D.C., The Phillips Collection, February 19 – May 29, 2005, no. 60 (color illus.)
"Paris in the Twenties," Ferrara, Italy, Ferrara Arte SpA, September 19, 2011 – January 8, 2012.
"Amedeo Modigliani: L’Oeil Intérieur," Lille, France, Musée d’art moderne, d’art contemporain et d’art brut, February 27-June 5, 2016 ; Budapest, Hungary, Hungarian National
Museum, June 28, 2016 - October 2, 2016; Ateneum Art Museum, Helsinki, Finland, October 28, 2016 - February 5, 2017, cat. 106.

Selected Literature:
"Gemälde von Modigliani," Deutsche Kunst und Dekoration, Darmstadt, July 1925, as ‘Knabe’, illustrated, p.221.
Pfannstiel, Arthur. "L’Art et la Vie: Modigliani," Paris, 1929, p. 27, as Garçon au Pantalon Court. (Note: As "Garçon au Pantalon Court" in collection Meunier, Paris, with dims 92 x 60 cm but DMA painting’s dimensions are 99.89 x 64.77 cm and we have found no evidence suggesting this painting was ever in the Meunier collection. This reference also mentions that the painting was reproduced in George Waldermar’s October 1925 issue of L’amour de l’art, but that is not the case. There is a painting similar to the DMA’s in Waldermar’s essay that is owned by Collection Bing &amp; Cie.)
Brewer, Ann. "Little Known Work by the Modern French Painters," The Art News, May 2, 1936, p. 5-7, (illus.).
Rendell, Walter. "Pictures and Interiors," The New York Times, November 28, 1935, p. 15, as Jeunne Homme.
British Council and National Gallery of Scotland. A Century of French Art: 1840-1940: with introduction, 1944, p. 25, no. 224.
Franchi, Raffaello, Modigliani, Florence, 1947, p. 44, no. XXIII (illus.). (Note: Erroneously cited as Meunier Collection, Paris. We have not been able to establish that Beatrice Lillie lost possession of the painting, despite mention in the Philadelphia Enquirer on October 13, 1958, that her "prized Modigliani was missing during the war." In her autobiography, Lillie does not mention that the painting was stolen when her London apartment was burglarized in 1946.)
Ceroni, Ambrogio, I Dipinti di Modigliani, Milan, 1958, p. 101, no. 255. (illus.).
Ceroni, Ambrogio, I Dipinti di Modigliani, Milan, 1970, p. 101 (illus.).
Lanthemann, Josef, Modigliani, 1884-1920, Catalogue Raisonné, Barcelona, 1970, p. 257, 132, (illus.), as Le Garçon en Culottes, dated 1919.
Lillie, Beatrice with John Philip and James Brough, Every Other Inch a Lady, Doubleday, 1972, pp. 339-341.
"Forthcoming Sales," Christie’s, November – December 1975, cover (color illus.).
Impressionist and Modern Paintings and Sculpture, Christies, London, December 2, 1975, p. 132, lot 64.
Herbert, John. Ed., Christie’s Review of the Season 1976, London, 1976, p. 160;
The New Yorker, January 5, 1976, p. 3 (illus.).
"Outstanding Accessions," Dallas Museum of Fine Arts Annual Report, 1976-77, (illus.).
"Gallery Buffet Soup Cookbook," Dallas Museum of Fine Arts Bulletin, Summer 1983, back cover (Illus.).
Fraquelli, Simonetta, Susan Davidson and Maria Luisa Pacelli. Gli anni folli: la Parigi di Modigliani, Picasso e Dali: 1918-1933, FerraraL /ferrara arte, 2011.
Pittman, Bonnie. Dallas Museum of Art: A Guide to the Collection. Dallas, Dallas Museum of Art, 2012, p. 242 (color illus.).
Lévy, Sophie, Amedeo Modigliani, L’oeil Intérieur, Paris, Gallimard, 2016, p. 106 (color illus.).

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Léopold Zborowski with a Cane, 1918

X63531
Léopold Zborowski with a Cane

[Zborowski a la canne] 1918
painting
Oil paint on canvas
unconfirmed: 730 x 500 mm
Private Collection
Provenance:
The artist;
Léopold Zborowski;
Galerie Bernheim-Jeune Paris, before 1929;
Roger Dutilleul (1873–1956), possibly by June 1919 and until 1943 [1];
Madame A. Eyraud-Vaillant, after 1943 [2];
Collection Bernheim-Jeune, Paris, by 1956 [3];
Hugo Gouthier (1909–1992), Paris, by 1958 and until at least 1970;
Marlborough Gerson Gallery, New York;
Private collection, 1985;
Acquired from the above by the present owner, an anonymous collector, 2016.
Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of artist: Amedeo Modigliani
Identifying marks: signed 'Modigliani' lower right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 251
[1] From Lille 2016: ‘It is not easy to establish with any degree of certainty which paintings Roger Dutilleul purchased from the art dealer Léopold Zborowski before Modigliani painted his portrait. Before June 1919, he might have acquired Zborowski with Yellow Hands (Ceroni no. 251)…’
‘For the exhibition L’Influence de Cézanne’ that was to have taken place in 1943, Dutilleul worked with Paul Martin, the director of the newly opened Galerie de France. The collector planned to lend eight painting by Georges Braque, six by Picasso, two by André Derain and one by Modigliani, Zborowski with Cane.’
[2] From Lille 2016: ‘The Portrait of the Artist Léopold Survage, which initially belonged to Dutilleul, was later acquired by Madame Eyraud, as was Zborowski with Cane, which changed hands between 1943 and 1950.’ Modigliani painted Madame A. Eyraud-Vaillant in 1919 (Ceroni no.332).

Exhibition history:
Paris, Bernheim-Jeune, Exposition Modigliani, February 7 – 21, 1922, cat. no. 23 (titled
Portrait de Monsieur Z…) (possibly)
Paris, Galerie de France, ‘L’Influence de Cézanne’ 1943
London, Arthur Tooth and Sons, Recent Acquisitions VIII, November 17 – December 19, 1953, no. 24, p. 7; no. 24, illustrated (titled M. Zborowski à la Canne)
Paris, Galerie Charpentier, Cent Tableaux de Modigliani, 1958, cat. no. A (titled
Zborowski à la Canne; dated 1917)
Tokyo, Seibu Art Center; Kyoto, National Museum of Art; Fukuoka, Fukuoka Prefecture Cultural Center, Modigliani, May 3 – September 1, 1968, no. 35, illustrated in color, (titled Zborowski a la Canne; dated 1917)
Paris, Musée d’Art Moderne, Amedeo Modigliani, 1884-1920, March 25 – June 28,
1981, cat. no. 65, p. 144, illustrated in color (titled Léopold Zborowski à la Canne)
Tokyo, The National Museum of Modern Art; Aichi, Japan, Aichi Prefectural Art Gallery, Modigliani, July 19 – November 7, 1985, no. 105, p. 128, illustrated in color; no. 105, p.207, illustrated (titled Léopold Zborowski with a Cane)
Selected Literature
Arthur Pfannstiel, Modigliani (Paris: Editions M. Seheur, 1929), p. 36 (titled Portrait de M. Zborowski)
Jean Cocteau, Modigliani (London: A. Zwemmer, 1950), pl. 18, illustrated in color (titled Portrait of Zborowski with a Walking Stick)
Cocteau 1950, p.18
Pierre Descargues, Amedeo Modigliani, 1884-1920 (Paris: Braun, 1954), pl. 30, illustrated (titled Portrait de Sborowski)
Arthur Pfannstiel, Modigliani et Son Oeuvre: Etude Critique et Catalogue Raisonné
(Paris: Bibliotheque des Arts, 1956), no. 219, p. 125 (titled Portrait de Zborowski
(appuyé sur une canne))
J. Lanthemann, Modigliani: Catalogue raisonné, Barcelona, 1970, p. 287
This work was produced before the operative period 1933–1945. Its provenance for these years is fully documented.

Amedeo Modigliani, Head of Jeanne Hébuterne, 1918

X63537
Head of Jeanne Hébuterne

1918
painting
Oil paint on canvas
unconfirmed: 460 x 290 mm frame: 685 x 520 mm
Private Collection
Provenance:
Leopold Zborowski, Paris, acquired directly from the artist[1];
Jean Netter, Paris;
Galerie Bernheim-Jeune, Paris, until at least 1922 [2];
Riccardo Gualino, Turin, until at least 1930 [3];
Nationalgalerie, Berlin, to whom given in 1933 together with eight other contemporary Italian pictures by the Italian government in exchange for a painting by Francesco Paolo Michetti (1851–1929);
removed as 'entarte Kunst' in 1937;
Gemalde und Plastiken moderner Meister aus deutschen Museen, Fischer, Lucerne, 30 June 1939, lot 98 (illustrated; sold for Sf. 6,600); Mrs A.Lehr, Bern [4]; Impressionist and Modern Paintings and Sculpture, Christies, Monday 3 December 1984, lot 21; from whom acquired by the present owner, an anonymous collector


[1] Salmon 1926, p.40
[2] The work appears in the Bernheim-Jeune 1922 catalogue (not illustrated)
[3] Listed as ‘Col. Riccardo Gualino, Turin’ in Salmon 1926 and Venice 1930
[4] Listed as ‘Private Collection, Bern’ in: Galerie Charpentier exhibition catalogue 1958; Marseilles 1958, no. 24, not illustrated, there titled ‘Portrait de Jeune Fille’; Salmon 1957, illustrated facing p.96, credit p.216.

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 223

Exhibition history:
Paris, Galerie Bernheim-Jeune, 1922, number 31
Venice, XVII Biennale, 1930, no.1266, there titled ‘Ritratyo di ragazza’ (Portrait of a Girl)
Berne, Kunsthalle, Ecole de Paris, 1946 (not in catalogue)
Milan, Associazione fragli amatori di cultori della arte figurative contemporanee, Modigliani, April-May 1946
Lausanne, Musee des Beaux-Arts; and Lucerne, Kunstmuseum, 40 Jahre Italienische Kunst, Feb-June 1947, no.99 bis
Bern, Kunsthalle, Europaische Kunst, 1953, no.91
Bern, Kunsthalle, Modigliani, Campigli, Sironi, Aug-Sept. 1955, no.27 (illustrated)
Paris, Galerie Charpentier, Cent Tableaux de Modigliani, April-May 1958, no.69 (illustrated)
Marseilles, Musee Cantini, Amedeo Modigliani, June-July 1958, no.24 (illustrated in colour)
Milan, Palazzo Reale, Amedeo Modigliani, Nov-Dec. 1958, no.42 (illustrated)
Rome, Galleria Nazionale d'Arte Moderna, Amedeo Modigliani, Jan-Feb, 1959, no.39 (illustrated pl.31)
London, Royal Academy, Modigliani &amp; his Models, 8 July–15 October 2006

Selected Literature:
A. Pfannstiel, Modigliani, Paris, 1929, catalogue presume, p.49 (illustrated facing p.118)
L. Thormaehlen 'Neue Italienische Malerei in Kronprinzenpalaie' in Museum der Gegenwarts, III, 1933 (illustrated p.137)
P.O.Rave, Kunstdictatur im dritten Reich, Hamburg, 1949, pp.82-3
G. Scheiwiller, Amedeo Modigliani, vol II, Milan, 1950 (illustrated pl.29)
P. Descargues, Amedeo Modigliani, Paris, 1954 (illustrated pl.31)
A.Pfannstiel, Modigliani et son oeuvre, Paris, 1956, p.155, no.299 (illustrated p.27; incorrect measurements)
A. Salmon, La vie passionee de Modigliani, Verviers, 1957, (illustrated)
La Nazione Italiana, 16 Nov. 1958 (illustrated)
A. Ceroni, Amedeo Modigliani, peintre, Milan, 1958, p.55, no.87 (illustrated)
C. Roy, Modigliani, Geneva, 1958, (illustrated in colour p.88, and illustrated in colour on the dust jacket)
F. Roh, Entarte Kunst, Kunstbarbarei im Dritten Reich, Hanover, 1962, p.136
J. Lantheman, Modigliani, catalogue raisonne, sa vie, son oeuvre complet, son art, Barcelona, 1970, p.130, no.332 (illustrated p.247)
A. Ceroni, I Dipinti di Modigliani, Milan 1970, no.223 (illustrated p.99)
A. Henzen, 'Das Ende der neuer Abteilung der Nationalgalerie in ehmaligen Kronprinzenpalais' in Jahrbuch Preussischer Kulturbesitz, X, 1972, p.53
M. Hinz, Art in the Third Reich, Oxford, 1979, p.43
C. Mann, Modigliani, London, 1980, p.170 (illustrated in colour pl.124)
S. Fraquelli &amp; N. Rosenthal, Modigliani &amp; his Models, London, 2006, illustrated
National Gallery, Berlin, The Black Years, Histories of a Collection 1933-45, 21.11.2015 to 21.08.2016, illustrated in the catalogue, p.47

This work was produced before the operative period 1933-45. Its provenance during these years is fully documented.

Amedeo Modigliani, Boy in a Blue Jacket, 1918

X63570
Boy in a Blue Jacket

[Garçon à la Veste Bleue] 1918
painting
Oil paint on canvas
unconfirmed: 925 x 610 mm
Private Collection
Provenance:
Jacques Netter, Paris, c. 1919, acquired directly from the artist, Galerie Bing et Cie, Paris by 1925; Félix Fénéon, Paris by 1929; Solomon R. Guggenheim acquired from the above in 1932 [1]; The Solomon R. Guggenheim Museum, New York (sale: Sotheby's, New York, 17th May 1990, lot 39); Purchased at the above sale by Perls Galleries; Sold at Impressionist and Modern Art, Evening Sale, 21 June 2004, Sotheby’s London, Lot 59, to the current owner, a private collector.

[1] The Raffaello Franchi book (published 1946) credits ownership of the work to Félix Fénéon. However, in the 1976 book, The Solomon R. Guggenheim Museum, The Guggenheim Museum Collection: Paintings 1880-1945, there is a letter mentioned from Fénéon to Hilla Rebay in 1932 that refers to the sale. (from the Hilla von Rebay Foundation Archive)

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' (upper right)
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 259

Exhibition history:
Paris, Galerie Bing et Cie, Modigliani, 1925, no. 25 or no. 28
Zurich, Kunsthaus, Italienische Maler, 1927, no. 103
Charleston, Carolina Art Association, Gibbes Memorial Art Gallery, Solomon R. Guggenheim Collection of Non-Objective Paintings, 1936, no. 118
Philadelphia, Philadelphia Art Alliance, Solomon R. Guggenheim Collection of Non-Objective Paintings, 1937, no. 183
Charleston, Gibbes Memorial Art Gallery, Solomon R. Guggenheim Collection of Non-Objective Paintings, 1938, no. 257
Cleveland, Cleveland Museum of Art and New York, The Museum of Modern Art, Modigliani: Paintings, Drawings, Sculpture, 1951
New York, The Solomon R. Guggenheim Museum, Selection II, 1953
New York, The Solomon R. Guggenheim Museum, Interim Exhibition of Museum Collection, 1954
New York, The Solomon R. Guggenheim Museum, Selection IV, 1954
New York, The Solomon R. Guggenheim Museum, Interim Exhibition of Museum Collection, 1955
Montreal, Montreal Museum of Fine Arts, A Selection from the Solomon R. Guggenheim Museum, New York, 1955, no. 42, illustrated on the cover of the catalogue
New York, The Solomon R. Guggenheim Museum, Selection V, 1955
Hartford, Wadsworth Atheneum, Twentieth Century Paintings from Three Cities: New York, New Haven, Hartford, 1955, no. 38, pl. II, illustrated in the catalogue
New York, The Solomon R. Guggenheim Museum, Recent Acquisitions and Loans II, 1957
San Antonio, Marion Koogler McNay Art Institute, Modigliani, 1957, no. 2, illustrated in the catalogue
New York, The Solomon R. Guggenheim Museum, Recent Accessions, 1958
New York, The Solomon R. Guggenheim Museum, Inaugural Selection, 1959
New York, The Solomon R. Guggenheim Museum, Acquisitions, 1953-1961, 1961
Vienna, Museum des 20. Jahrhunderts, Kunst von 1900 bis heute, 1962, no.147, illustrated in the catalogue
Worcester, Massachusetts, Worcester Art Museum, Aspects of Twentieth Century Painting Lent by The Solomon R. Guggenheim Museum, New York, 1963, no. 30, illustrated in the catalogue
Frankfurt, Steinernes Haus (Frankfurter Kunstverein), Amedeo Modigliani, 1963, no. 23, illustrated in colour in the catalogue
Edinburgh, Royal Scottish Academy and London, Tate Gallery, Modigliani, 1963, no. 38, pl. 22, illustrated in the catalogue
New York, The Solomon R. Guggenheim Museum, Paintings from the Collection of The Solomon R. Guggenheim Museum, 1965, no. 47, illustrated in the catalogue
Baltimore, The Baltimore Museum of Art, Twentieth Century Italian Art, 1966
Providence, Museum of Art, Rhode Island School of Design, Seven Centuries of Italian Art, 1967
New York, The Solomon R. Guggenheim Museum, Acquisitions of the 1930's and 1940's. A Selection of Paintings, Watercolors and Drawings in Tribute to Baroness Hilla von Rebay, 1890-1967, 1968, p. 26, illustrated in the catalogue
New York, Acquavella Galleries, Inc., Amedeo Modigliani, 1971, no. 40, illustrated in colour in the catalogue
New York, The Solomon R. Guggenheim Museum, Classics in the Collection, 1972
New York, The Solomon R. Guggenheim Museum, (Selections from the Guggenheim Museum Collection) Recent Acquisitions 1972-1973, 1973
New York, The Solomon R. Guggenheim Museum, The Guggenheim Museum Collection: Paintings 1880-1945. 1976
New York, The Solomon R. Guggenheim Museum, School of Paris: The Solomon R. Guggenheim Museum Collection, 1978
Tokyo, Daimaru Department Store and Osaka, Daimaru Department Store, 1979
Venice, Peggy Guggenheim Collection and Stuttgart, Schirn Kunsthalle, A Half Century of European Paintings 1910-1960 from the Guggenheim Museum, 1986
Prague, Národní Galerie and Berlin, Nationalgalerie, Modern Treasures from the Solomon R. Guggenheim Foundation, 1989
Tokyo, Musée Tobu; Kyoto, Musée Daimaru de Kyoto; Osaka, Musée Daimaru d'Umeda and Ibaraki, Musée d'Art, Moderne, Amedeo Modigliani, 1992-93, no. 34, illustrated in colour in the catalogue

Selected Literature:
Waldemar George, "Modigliani", in L'Amour de l'art, Paris, October 1925, p. 385
Giovanni Scheiwiller, Amedeo Modigliani, Milan, 1927, illustrated
Arthur Pfannstiel, L'art et la vie. Modigliani, Paris, 1929, illustrated in colour
Raffaello Franchi, Modigliani, Florence, 1946, pl. XXV, illustrated in colour
Gotthard Jedlicka, Modigliani, Zurich, 1953, pl. 34, illustrated
Arthur Pfannstiel, Modigliani et son œuvre, Paris, 1956, p. 145, no. 279 (catalogued)
Ambrogio Ceroni, Amedeo Modigliani, Milan, 1958, no. 100, illustrated
Leone Piccioni and Ambrogio Ceroni, Das gemalte Werk von Modigliani, Milan, 1970, p. 101, no. 259, illustrated
Joseph Lanthemann, Modigliani. Catalogue raisonné, Barcelona, 1970, no. 368, illustrated
Werner Schmalenbach, Amedeo Modigliani. Paintings, Sculptures, Drawings, Munich, 1990, no. 82, illustrated in colour
Osvaldo Patani, Amedeo Modigliani. Catalogo Generale, Milan, 1991, p. 275, no. 272, illustrated in colour

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Woman in a Yellow Dress (La belle espagnole), 1918

X63598
Woman in a Yellow Dress (La belle espagnole)

1918
painting
Oil paint on canvas
unconfirmed: 920 x 600 mm
Collection Fondazione Francesco Federico Cerruti per l'Arte on long-term loan to Castello di Rivoli Museo d'Arte Contemporanea, Rivoli
Provenance:
The artist;
Leopold Zborowski, Paris;
Bernheim-Jeune, Paris (purchased from the above on 6 June 1922);
Madame Guérin, Paris (purchased on 9 April 1923);
Coll. Netter, Paris, by 1933 [1];
Galerie Bing Paris, by 1950; [2]
The Robert von Hirsch Collection [3];
The Robert von Hirsch Collection, Sotheby’s, June 1978 (lot 743);
Private collection;
from whom acquired by Francesco Federico Cerruti (1922-2015) at Sotheby’s, 1987;
Fondazione Federico Cerruti per l’Arte, 2013, created by the above;
On permanent loan to Castello di Rivoli, Turin.

[1] See exh.cat. ‘Modigliani’, Brussels: Palais des Beaux-Arts, 1933.
[2] See ‘Masterpieces from the Robert von Hirsch sale at Sotheby’s, London, June 19 1978’.
[3] von Hirsch (1883–1977) was born in Frankfurt-am-Main in 1883 and began working in Offenbacher, his uncle’s leather and tanning firm. As a young man, he had already begun to collect fine French and German first editions. Age 24, in 1907, he bought his first paintings by Toulouse-Lautrec and Picasso and acquired over the next several years Medieval and Renaissance works of art. In 1933, as a prominent Jewish businessman, he left Germany and emigrated to Basel with his collection./ He married the sculptress Martha Dreqyfus-Koch and their house and garden became a cultural center for art lovers. Her influence widened the range of his collection which after the second world war included a strong group of early 20th century works by Picasso, Matisse, Modigliani and Soutine, very much the taste of Martha, and all of which hung in the dining room. When von Hirsch died in 1977, his stepchildren, Richard Dreyfus and his sister Lolo Sarnoff consigned the entire, vast collection, apart from a few bequests, to Sotheby’s in London. From Michel Strauss, Pictures, Passions and Eye: A Life at Sotheby’s, London 2011.

Lender’s address: Piazzale Mafalda di Savoia, 10098 Rivoli TO, Italy

Nationality of artist:
Identifying marks: signed 'Modigliani'
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Modigliani. Dessins, Sculptures. Milan: Edizioni del Milione, 1965. No. 283

Exhibitions:
Venice, XVII Esposizione Internazionale Biennale d'Arte, Sala Amedeo Modigliani, 1930
Brussels, Palais des Beaux-Arts, Modigliani, 1933, no. 32
Basel, Kunsthalle, Modigliani, 1934, no. 24
London, Arthur Tooth and Sons Ltd., 17 March – 9 April 1938, no. 26
Lausanne, Hermitage, Modigliani (curated by M. Restellini)
Exposition Amedeo Modigliani au Japon 1992-93. Tokyo: Museum Tobu / Kyoto: Museum Daimaru / Osaka: Museum Daimaru / Ibaraki: Museum of Modern Art. No.39.
Lugano, Museo d'Arte Moderna, Amedeo Modigliani, 1999.

Selected Literature:
A. Pfannstiel, Modigliani, Paris, 1929, p. 47/II
Photo Library of the Biennale, Venice, 1930, photo, n. 306
Modigliani (exh.cat). Brussels: Palais des Beaux-Arts, 1933, No. 32 (Jeune fille a la robe jaune), p. 23. (As collection M. Netter, Paris).
G. di San Lazzaro, Modigliani, Paris, 1947, pl. XIV
G. Scheiwiller, Amedeo Modigliani, Milan, 1950, pl. 37;
Giovanni di San Lazaro, Modigliani, peintures. Paris: 1947, pl.XIV
Giovanni Scheiwiller, Amedeo Modigliani. Milan: 1950, pl. 37. (as Galerie Bing)
Descargues, Modigliani, Paris, 1951, pl. 43;
G. di San Lazzaro, Modigliani, Paris 1953, pl. XIV;
P. Descargues, Modigliani, Paris, 1954, p. 43;
A. Pfannstiel, Modigliani et son oeuvre, Paris, 1956, p. 147, n. 284;
J. Lanthemann, Modigliani, Catalogue Raisonnée. Barcelona: Condal, 1970. No. 335, p.130, ill.p.248
Leone Piccioni and Ambrogio Ceroni, I dipinti di Modigliani. Milan: Rizzoli Editore, 1970 (as private collection, Paris).
Masterpieces from the Robert von Hirsch sale, London: Sotheby’s, June 19 1978. Lot 743, p. 153, ill.
Exposition Amedeo Modigliani au Japon 1992-93 (exh.cat.). Ibaraki: Museum of Modern Art Ibaraki, 1992. No.39, p. 130, ill. p. 131.
AA. VV., I dipinti di Modigliani, classici dell'Arte Rizzoli, p. 102, n. 283; In “Corriere della Sera", Grandi Mostre, Modigliani a Lugano, il corpo e la parola, 29 March 1999.


This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Portrait of a Young Woman, 1918

X63614
Portrait of a Young Woman

1918
painting
Oil paint on canvas
unconfirmed: 457 x 280 mm frame: 704.9 x 519.1 x 69.9 mm
Yale University Art Gallery, Bequest of Kate L. Brewster
Provenance:
Leopold Zborowski, Paris, acquired directly from the artist; Mrs. Cornelius J. Sullivan, New York; Kate Lancaster Brewster (since 1935); Mrs. Walter S. Brewster, United States; Bequeathed to Yale University Art Gallery in 1948.
Lender’s address: 1111 Chapel St, New Haven, CT 06510, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 224

Exhibition history:
Paris, Gallery Bing, Modigliani, 1925
Boston, Museum of Fine Arts, and Los Angeles County Museum, Modigliani: Paintings and Drawings, 1961, no. 31
Tokyo and Osaka, Daimaru (in cooperation with The Solomon R. Guggenheim Museum), Modigliani Exhibition, 1979, no. 20
Liege, Belgium, Musee St. Georges, Modigliani, 1980, no. 17
Tokyo, The National Museum of Art and Aichi Prefectural Art Gallery, Modigliani, 1985, no. 110
Kunstsammlung Nordrhein-Westfalen and Kunsthaus Zurich, Amedeo Modigliani, 1991, no. 72
New York, The Jewish Museum, Modigliani: Beyond the Myth, 2004

Selected Literature:
"Accessions 1947-48," Bulletin, YUAG, vol. 16, no. 3 (July 1948), p. 3
Frederick Wight, Modigliani: Paintings and Drawings, exh. cat. (Los Angeles: Committee on Fine Arts Productions, University of California, 1961), 54, ill.
Ambrogio Ceroni, Amedeo Modgliani: Dessins et Sculptures (Milan: Edizioni del Milione, 1965), no. 216.
Francoise Forster-Hahn, French and School of Paris Paintings in the Yale University Art Gallery (New Haven, Conn.: Yale University Press, 1968), 18-19.
J. Lanthemann, Modigliani 1884-1920, Catalogue Raisonné. Sa vie, Son Oeuvre Complet, Son Art (Barcelona, Spain: Gráficas Condal, 1970), no. 333.
Ambrogio Ceroni and Francoise Cachin, Tout l’Oeuvre Peint de Modigliani (Paris: Flammarion, 1972), fig. 224.
Tadayasu Sakai and Toshio Yamanashi, Modigliani Exhibition: Love and Nostalgia for Montparnasse, exh. cat. (Tokyo: Mainichi Newspapers, 1979), 20, ill.
Modigliani: Liege, Musee Saint-Georges du 18 octobre au 14 decembre 1980., exh. cat. (Liege, Belgium: Musee St. Georges, 1980), 78, 79, ill.
Werner Schmalenbach, Amadeo Modigliani (Munchen, Germany: Prestel Publishing, 1990), 123, 221, ill.
Christian Parisot, Modigliani: catalogue raisonne (Livorno, Italy: Giorgio and Guido Guastalla, 1990), 193, 322, fig. 9/1918.
Christian Parisot, Modigliani, La Vita Le Opere. Rome: Carte Segrete, 2006. P.118, ill.
Osvaldo Patani, Amedeo Modigliani: Catalogo generale, diptini, vol. 1, 3 vols. (Milan: Leonardo, 1991), 242, fig. 234.
Marc Restellini, Modigliani: The Melancholy Angel, exh. cat. (Milan: Skira, 2002).
Maurice Berger, Modigliani: Beyond the Myth, ed. Mason Klein (New Haven, Conn.: Yale University Press, 2004).
Anette Kruszynski, Amedeo Modigliani, Portraits and Nudes. Munich: Prestel, 2000. P.69, ill.
Werner Schmalenbach, Amedeo Modigliani. Paintings, Sculptures, Drawings. Munich: Prestel, 2005. Nr. 72, ill.


This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Jeanne Hébuterne Seated, 1918

X65462
Jeanne Hébuterne Seated

1918
painting
Oil paint on canvas
unconfirmed: 920 x 603 mm unconfirmed, frame: 1195 x 875 x 85 mm
Merzbacher Kunststiftung
Provenance:
The artist; Léopold Zborowski, Paris [1];
Jacques Netter, Paris;
Felix Féneon, Paris [2];
Galerie Bing et Cie, Paris, by 1947 [2];
Private Collection, Sweden
Merzbacher Kunststiftung, by 1987.
[1] In Pfansteil 1929, p.45, there is a work titled ‘Mme Hebuterne’ (accoudée à une table), anc. Col. L. Zborowski, Paris. Dimensions given as 92 x 60.
[2] Franchi 1947 p. 45, XL, La Signora Hebuterne (Nizza, 1918), coll. Féneon, già Bing, Parigi

Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper right
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 221
Exhibition history:
Paris, Galerie Bing &amp; Cie, Modigliani, 1925
Basel, Galerie Beyeler, Aus privaten Samlungen, 1986, Nr. 36, Abb.
Verona, Palazzo Forti, Modigliani à Montparnasse, 1988, S. 81
Jerusalem, The Israel Museum, Monet to Matisse, Modern masters from Swiss Private Collections, 1988-89, Abb. S. 55
Martigny, Fondation Gianadda, Amedeo Modigliani, 1990, Nr. 91, Abb S. 163
Düsseldorf, Kunstsammlung Nordrhein-Westfalen/Zürich, Kunsthaus, Amedeo Modigliani, 1991, Nr. 63, Abb. Nr. 71, S. 122
Lausanne, Fondation de l’Hermitage, Les peintres de Zborowski, Modigliani, Utrillo, Soutine et leurs amis, 1994, Nr. 8, Abb
Jerusalem, Irsael Museum, Okt.1998-Febr.1999, The Joy of Color, Nr. 101
Lugano, Museo d’Arte Moderna, 28.3-27.6.1999, Amedeo Modigliani
Nagoya, Japan, Aichi Prefectural Museum of Art, 13.4-17.5.2001/Tokyo, Seiji Togo Memorial Yasuda Kasai Museum of Art, 2.6-22.7.2001/Hagi, Hagi Uragami Museum, 28.7-28.9.2001/Morioka, Iwate Museum of Art, 6.10-11.11.2001, Nr.19
London, Royal Academy of Arts, 27.7-17.11.2002, Masters of Colour Derain to Kandinsky, Nr. 20
Zürich, Kunsthaus, 10.2-14.5.2006, Fest der Farbe Die Sammlung Merzbacher-Mayer, Nr. 115
Humblebaek (DK), Louisiana Museum of Modern Art, 5.2-13.6.2010, Farbe in der Kunst, Nr. 107
Martigny, Fondation Pierre Gianadda, 29.6-25.11.2012, Van Gogh, Picasso, Kandinsky… Collection Merzbacher La Mythe de la Couleur, Nr. 48
Martigny, Fondation Pierre Gianadda, 21.6-24.11.2013, Modigliani et l’école de paris, no.17

Selected Literature:
Waldemar George, L’aumour de’art, 10.10.1925, ill. p.387
Arthur Pfannstiel, Modigliani, catalogue présumé, 1929, Nr.II, p.45
Michel Georges-Michel, Les Montparnos, Paris 1929, ill. p. 25
Rafaello Franchi, Modigliani, Florenz 1944, Taf.XXVIII
Jean Cocteau, Modigliani, Paris 1950, TafXI
Arthur Pfannstiel, Modigliani et son oeuvre, catalogue raisonné, Paris 1956, Nr. 327, p.161
Ambrogio Ceronie, Amedeo Modigliani, Dessins et sculptures, Milan 1965, Nr. 215, ill.p. 50
Alfred Werner, Amedeo Modigliani, New York 1967, p.119
Ambrogio Ceroni and Leono Piccioni, I dipinti di Modigliani (Classici dell’Arte), Milan 1970, p.99
Joseph Lanthemann, Modigliani (1884-1920), Catalogue Raisonné, Sa vie, son oeuvre complet, son art, Barcelone 1970, p.133
Ambrogio Ceroni and Françoise Cachin, Tout l’oeuvre peint de Modigliani, Paris 1972 Nr.221
Douglas Hall, Modigliani, Oxford 1979 (41993), Nr.46, ill.
Carol Mann, Modigliani, London 1980, Nr.140, p.191
Thérèse Castieau-Barrielle, La vie et oeuvre de Amedeo Modigliani, paris 1987, ill.p.159
Arnoldo Mondadori, Modigliani à Montparnasse, Milan 1988, p.81
Christian Parisot, Modigliani, Livorno 1988, p.178
Stephanie Rachum, Von Monet bis Matisse, Ausstellung im Isreal Museum, Jerusalem, in: Shalom, Dec.1988, ill.p.28
J.-C.A., Le silence receuilli, in: Construire, 32, 8.8.1990, ill.p.9
Véronique Prat, Modigliani: «Je suis, italien, juif, ivrogne. Et peintre…», in: Figaro, Paris, 21.7.1990, ill.p.51 (detail)
Werner Schmalenbach, Modigliani, München 1990, Nr.63, ill.nr.71, p.122 [i.e.Düsseldorf/Zürich 1991]
L’Estampille/LObjet d’Art (Sondernausgabe Modigliani, Le peintre et le sculpture anlässlich der Ausstellung Amedeo Modigliani in der Fondation Gianadda, Martigny 1990), Quetigny FR, 1990, ill.p.23
Mitteilungsblatt der Zürcher Kunstgesellschaft 2 (anlässlich der ausstellung Amedeo Modigliani im Kunsthaus Zürich, 1991), Zürich 1991, cover image
Sabine Weder Arlitt, Fleisch und Selle, (anlässlich der ausstellung im Kunsthaus Zürich, 1991), in: Annabelle, Zürich 1991, ill.p.222
Christian Parisot, Modigliani, Catalogue raisonné, peintures, dessins, aquarelles, Bd.II, Livorno 1991, Nr.3, 1918, ill.p.187
Doris Wyss, Amedeo Modigliani (anlässlich der ausstellung im Kunsthaus Zürich, 1991)
Anzeiger von Uster, 19.4.1991, p.17, ill.
Christian Parisot, Modigliani, Paris 1992, ill.p.128
Stephen Butler, Modigliani, London 1994, ill.p.118
Farven I Kunsten, Louisiana Museum of Modern Art, Humblebaek DK, Louisiana Revy, 50. Year nr. 2, February 2010, colour ill. nr. 54
Artem Global Art, Istanbul, Nr.5, April-May 2010 Magazine, p.43, ISBN:978-975-7843-13-9
This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.


Amedeo Modigliani, Portrait of Germaine Survage, 1918

X65657
Portrait of Germaine Survage

1918
painting
Oil paint on canvas
unconfirmed: 540 x 430 mm frame: 740 x 635 mm
Musée des Beaux-Arts de Nancy
Provenance:
The artist;
(probably acquired in Paris gallery, perhaps Charpentier)
Château Corbin de Liverdun, Galilée family
Henri Galilée (1929 or earlier);
Madame Henri Galilée;
by whom bequeathed to the present owner, Musée des beaux-arts, Nancy, in 1965


Lender’s address: 3 Place Stanislas, 54000 Nancy, France
Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, upper right Label on verso: Soprintendenza alla Galleria Nationale d’arte moderna / Mostra Amedeo Modigliani / data: Gennaio – febbraio 1929 / titore: ritratto di donna Survage / Proprietario: Château Liverdun Collection Galilée
Place of manufacture: Nice, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 277

Exhibition history:
Galleria Nationale d’arte moderna, Mostra Amedeo Modigliani, January - February 1929.
Nancy, Musée des Beaux-Arts, La collection Henri Galilée. Oeuvres de maîtres contemporains, 1946.
Marseille, Musée Cantini, Modigliani, 1958, nr. 70.
Paris, Galerie Charpentier, Cent Tableaux de Modigliani, 1958.
Nancy, Musée des Beaux-Arts, La collection Henri Galilée. Présentation des cent plus belles oeuvres de la collection, 1961, nr. 69.
Liège, Musée Saint-Georges, Echevinat des Musées de la ville de Liège, 1980, nr. 20
Paris, Musée National d’Art Moderne, 1981, nr. 75.
Martigny, Fondation Pierre Giannada, Modigliani, 1990, nr. 92.
Parma, Palazzo Ducale di Colorno, Da Barocci a Modigliani. Le collezioni del Musée des Beaux-Arts di Nancy, 14 March – 1 July 1997, Skira Editor. Nr. 72, p. 158, ill p. 159.
Museo Thyssen-Bornemisza, Modigliani et son Temps, 5 February – 18 May 2008.
Tokyo / Aichi, Prefectural Art Gallery, 1985, 104.
Bonn, Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Amedeo Modigliani, 17 April – 30 August 2009.
Seoul, Hangaram Art Museum of Seoul Arts Center, Modigliani; Legend of Montparnasse, 26 June – 4 October 2015. P. 126, ill. p. 127.
Helsinki, Ateneum Art Museum, Amedeo Modigliani. The Inner Eye. 28 October 2016 – 5 February 2017.

Selected Literature:
Léopold Survage, ‘My Speech on Modigliani in Paris in 1947’ (Archive Collections, Finnish National Gallery)
A. Ceroni, ‘Modigliani’, 1958, nr.106
J. Modigliani, ‘Modigliani sans légende’, Paris 1961
‘Nancy Capitale de la Lorraine’, Nancy, 1966
‘La Revue du Louvre et des Musées de France’, 1968, nr. 6
J. Lanthermann, ‘Modigliani. 1884-1920. Catalogue rainsonnée, sa vie, son oeuvre complet, son art.’ Barcelona, 1970. Nr. 348.
A. Ceroni et Fr. Cachin, ‘Tout l’oeuvre peint de Modigliani’, Paris 1972, nr. 277.
Alfred Werner, ‘Modigliani’, Paris, 1975
‘L’Art Moderne dans les Musées de provinces’, Paris (Grand Palais), 1978.
Modigliani (exh.cat). Paris: Musée d’Art Moderne de la Ville de Paris, 1981. No.75, p.153, ill.
Thérèse Castieau-Barrielle, ‘Vie et oeuvre de Amédéo Modigliani’, Paris, 1987
Claude Pétry, ‘le muse des Beaux-Arts de Nancy’, Coédition Musées et monuments de France, Ville de Nancy et Albin Michel, Nancy, 1989.
‘Nancy, le Musée de Galilée’, Muséart, 1990, no. 5
Pierre Kayser, ‘La donarion Henri Galilée au Musée des Beaux-Arts de Nancy’, (Mémoire de maîtrise), Nancy, Universitée de Nancy II, 1990-1993, nr.75.
Eclats. Catalogue des collections du MBA Nancy: sous la direction de Blandine Chavanne et Sophie Harent, 2005, ill., p.180
LaM, Lille. Amedeo Modigliani. L.oeil intérieur. 2016. P. 158, fig. 58, ill.
Kenneth Wayne, Modigliani &amp; the artists of Montparnasse, exh. cat, New York 2002.
Timo Huusko, ‘Amedeo Modigliani and the Portrait of Léopold Survage’. Finnish National Gallery Research Issue No. 5, 2016.

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Portrait of Baranowski, 1918

X67035
Portrait of Baranowski

1918
painting
Oil paint on canvas
unconfirmed: 1120 x 560 mm
Private Collection
Provenance:
The artist;
Leopold Zborowski, Paris;
Samuel Bing, Paris, by 1925 [1];
de Maré, Paris;
Mark Ollivert, Paris;
Galerie Zak, Paris, by 1929 [2];
Madame Michaux, Paris, by 1930 [3];
The Storran Gallery, London, by 1937;
Sir Robert and Lady Sainsbury, London, purchased from the above 20 February 1937;
Robert and Lisa Sainsbury Charitable Trust, Sainsbury Centre for the Visual Arts, Norwich (a bequest from the above. Sold: Sotheby's, London, 30th June 1998, lot 17;
Private collection;
Impressionist and Modern Art Evening Sale, 01 March 2017, Sotheby’s London, Lot 10;
Private collection.

[1] This work appears in a photograph of the 1925 Bing et Cie exhibition (published by Sothebys 2017) and is credited to Collection Bing in George, June 1925
[2] This work is credited to collection Zak in Pfannsteil 1929.
‘Galerie Zak was based in Paris and specialized in modern European and Latin American art. Owned by Hedvige Zak (born Jadwiga Kohn or Kon, Nasielsk, Poland, February 6, 1885–Auschwitz, 1943), the gallery was an important venue for contemporary art exhibitions. Hedvige was married to Eugène Zak (born Eugeniusz Zak), a prominent Polish painter of Belarusian and Jewish origins who was active in France, Germany, and Poland. Eugène’s flourishing art and teaching career was cut short by his premature death in 1926. Two years later, Hedvige established Galerie Zak on the Left Bank at 16, rue de l’Abbaye, Place Saint-Germain-des-Prés.
In February 1929, Galerie Zak organized Vasily Kandinsky’s first solo exhibition in Paris. That same year, the gallery showed works by the American artist Louis Lozowick, and the accompanying catalogue featured a short text by the prominent critic Valdemar George. The gallery handled works by Marc Chagall, Amedeo Modigliani, Jules Pascin, Georges Rouault, Zak, and among the Cubists, Juan Gris (including Houses in Paris, Place Ravignan, 1911, possibly 1912; Promised Gift from the Leonard A. Lauder Cubist Trust) and Picasso.
In 1930 Picasso brought a suit against Zak for her involvement in selling hundreds of artworks dating from his youth, which he claimed had been extorted from his mother in Barcelona. The charges against Zak were dismissed in 1932.
During World War II, Zak’s gallery was seized by the occupying Nazi government in February–March 1941 and its contents sold. In addition, twenty artworks Zak had deposited in a bank in Nice, presumably early in the war, were confiscated by the Gestapo in 1944. Zak was deported to Drancy and from there to Auschwitz in November 1943 (registered with the name Hedwig Zack), where she was killed. Zak’s associate, Vladimir Raykis, reopened the gallery at 16, rue de l'Abbaye in 1945, and as the executor of Zak’s estate he pursued restitution of her confiscated property. Raykis then moved to 13, rue de l’Abbaye, the premises of the former Galerie Kate Perls, in the spring of 1946 (in agreement with the latter’s sons, Klaus and Frank Perls). Galerie Zak closed in the late 1960s.’ Source: The Metropolitan Museum of Art, accessed 29.08.17
[3] The work is credited to Mme. Michaux in Venice 1930


Lender’s address: Private collection c/o Matthew Gale, Head of Displays, Tate Modern


Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, lower left
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972, No. 280
Alternative titles: Portrait D’Homme; Rtiratto D’uomo; Pierre-Edouard Baranowski

Exhibition history:
Paris, Galerie Bing and Cie, Modigliani, 1925, no. 3
Zurich, Kunsthaus, Italienische Maler, 1927, no. 101
Venice, XVII Esposizione Biennale Internazionale d'Arte, Mostra individuale di Amedeo Modigliani, 1930, no. 24, illustrated in the catalogue (titled Ritratto d'uomo)
London, The Storran Gallery, Modigliani, 1937, no. 3, illustrated in the catalogue
London, Gimpel Fils, A. Modigliani, 1948, no. 1
London, Ben Uri Art Gallery, Famous Jewish Artists of the Past, 1949, no. 20
London, Tate Gallery; Leicester, City Art Gallery and Manchester, City Art Gallery, Modern Italian Art, 1950, no. 68, illustrated in the catalogue
Glasgow, McLellan Galleries, Festival of Jewish Arts, 1951, no. 90, illustrated in the catalogue
Rome, VI Quadriennale Nazionale d'Arte di Roma, 1951-52, no. 14
London, Whitechapel Art Gallery, 20th Century Form. Painting, Sculpture and Architecture, 1953, no. 33
London, Roland, Browse and Delbanco, Modigliani, 1955, no. 21
Bern, Kunsthalle, Modigliani, Campigli, Sironi, 1955, no. 20
Paris, Galerie Charpentier, Cent tableaux de Modigliani, 1958, no. 65, illustrated in the catalogue
Milan, Palazzo Reale, Mostra di Amedeo Modigliani, 1958, no. 42, illustrated in the catalogue (titled Ritratto del pittore Baranowski and with incorrect measurements)
Rome, Galleria Nazionale d'Arte Moderna, Modigliani, 1959, no. 31, illustrated in the catalogue (titled Ritratto del pittore Baranowski and with incorrect measurements)
Boston, Museum of Fine Arts and Los Angeles, Los Angeles County Museum of Art, Modigliani. Paintings and Drawings, 1961, no. 27, illustrated in the catalogue
London, Tate Gallery, Private Views. Works from the Collections of Twenty Friends of the Tate Gallery, 1963, no. 167
Edinburgh, Royal Scottish Academy and London, Tate Gallery, Modigliani, 1963, no. 43
Otterlo, Rijksmuseum Kröller-Müller, Collectie Robert and Lisa Sainsbury, 1966, no. 34, illustrated in the catalogue
Tokyo, Museum of Art, Amedeo Modigliani et l'Ecole de Paris, 1991
Lugano, Museo d'Arte Moderna della Città di Lugano, Amedeo Modigliani, 1999, no. 59, illustrated in colour in the catalogue
Paris, Musée d'Art Moderne de la Ville de Paris, L'Ecole de Paris, 2000-01
Paris, Musée du Luxembourg, L'ange au visage grave, 2002-03, no. 71, illustrated in colour in the catalogue (titled Pierre-Edouard Baranowski)
Rome, Complesso del Vittoriano, Modigliani, 2006, no. 31, illustrated in colour in the catalogue
Tokyo, The National Art Center and Osaka, The National Museum of Art, Modigliani et le primitivisme, 2008, no. 42, illustrated in colour in the catalogue

Selected Literature:
Waldemar George, 'Modigliani', in L'amour de l'art, Paris, October 1925, illustrated p. 387
Arthur Pfannstiel, Modigliani, Paris, 1929, listed p. 45
Giovanni Scheiwiller, 'Amedeo Modigliani', in Arte Moderna Italiana, Milan, 1932, illustrated pl. XXVI
Giovanni Scheiwiller, 'Amedeo Modigliani', in Arte Moderna Italiana, Milan, 1935, illustrated pl. XXVII
Giovanni Scheiwiller, 'Amedeo Modigliani', in Arte Moderna Italiana, Milan, 1936, illustrated pl. XXVIII
E. H. Ramsden, An Introduction to Modern Art, London, New York and Toronto, 1940, illustrated pl. XXI
Giovanni Scheiwiller, 'Amedeo Modigliani, in Arte Moderna Italiana, Milan, 1942, illustrated pl. 42
Giovanni Scheiwiller, 'Amedeo Modigliani', in Arte Moderna Italiana, Milan, 1950, illustrated pl. XXVI
Enzo Carli, Modigliani, Rome, 1952, illustrated pl. 23
'Omaggio a Amedeo Modigliani', in Rivista di Livorno, Livorno, July-August 1954, illustrated pl. 13
Eric Newton, 'Unbeaten Tracks', in Time and Tide, London, 2nd April 1955
Arthur Pfannstiel, Modigliani et son œuvre, Paris, 1956, no. 276, listed p. 144
The Times, London, 21st April 1958, illustrated p. 3
Franco Russoli, Modigliani, Milan, 1958, illustrated pl. 26
Ambrogio Ceroni, Amedeo Modigliani, Milan, 1958, no. 125, illustrated fig. 125
Connaissance des Arts, no. 106, Paris, December 1960, illustrated p. 146
The Tatler, London, 17th April 1963, illustrated p. 155
The Times, London, 18th April 1963, illustrated
Ambrogio Ceroni, Amedeo Modigliani. Dessins et sculptures, Milan, 1965, illustrated p. 19, in a photograph of the 1925 Galerie Bing exhibition in Paris
Corrado Pavolini, Modigliani, Milan, 1966, illustrated in colour pl. 23
Epoca, Milan, 10th September 1967, illustrated
Pierre Sichel, Modigliani. A Biography of Amedeo Modigliani, London, 1967, discussed p. 469
Alfred Werner, Amedeo Modigliani, London, 1967, illustrated in colour p. 145
Csorba Geza, Modigliani, Prague, 1969, no. 43
Leone Piccioni and Ambrogio Ceroni, I dipinti di Modigliani, Milan, 1970, no. 280, illustrated p. 102
Joseph Lanthemann, Modigliani. Catalogue raisonné. Sa vie, son Oeuvre complet, son art, Barcelona, 1970, no. 286, illustrated p. 236
Modigliani exhibition - Love and Nostalgia for Montparnasse (exhibition catalogue), Daimaru Department Store, Tokyo and Osaka, 1979, illustrated in a photograph of the 1925 Galerie Bing exhibition in Paris
Carol Mann, Modigliani, London, 1980, no. 123, illustrated p. 169
Alfred Werner, Amedeo Modigliani, New York, 1985, illustrated in colour p. 117
Christian Parisot, Modigliani. Catalogue raisonné, Florence, 1988, vol. II, no. 37/1918, illustrated in colour p. 221
Christian Parisot, Modigliani. Catalogue raisonné, Livorno, 1990, vol. I, illustrated in colour p. 190
Osvaldo Patani, Amedeo Modigliani. Catalogo generale dipinti, Milan, 1991, no. 291, illustrated p. 290
Stephen Butler, Modigliani, London, 1994, illustrated in colour p. 104
Steven Hooper (ed.), Robert and Lisa Sainsbury Collection, New Haven and London, 1997, vol. I, no. 133, illustrated in colour p. 221

This work was produced before the operative period 1933–1945 and has a complete provenance.

Amedeo Modigliani, Jeanne Hébuterne, 1919

X63424
Jeanne Hébuterne

1919
painting
Oil paint on canvas
unconfirmed: 914 x 730 mm frame: 1102 x 921 x 95 mm
The Metropolitan Museum of Art, Gift of Mr. and Mrs. Nate B. Spingold, 1956 (56.184.2)
Provenance:
Leopold Zborowski, Paris, acquired directly from the artist; Louis Libaude, Paris; Galerie Bing, Paris, in 1925; Bernard Reichenbach until 1937; his sale, "Tableaux Modernes Provenant de la Collection de Monsieur R. B...," Hôtel Drouot, Paris, June 3, 1937, no. 18, as "Déshabillé au fauteuil," for Fr 30,000; Georges Hyordey, Paris, 1937–possibly 1951; Galerie Bing, Paris, until 1951; sold to Lindon; Jacques Lindon, New York, 1951; sold on September 26, 1951 to Spingold; Mr. and Mrs. Nate B. Spingold, New York 1951–56; their gift to The Metropolitan Museum of Art

Lender’s address: 1000 5th Ave, New York, NY 10028, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani', upper right
Place of manufacture: France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 326

Exhibition history:
Paris. Bing &amp; Cie. "Modigliani," October 24–November 15, 1925, no. 4 or 19 (as "Madame Modigliani" or "Portrait de Madame Modigliani").
London. Arthur Tooth &amp; Sons Ltd. "Amedeo Modigliani, 1884–1920," March 17–April, 1938, no. 20 (as "Portrait d'Hébuterne assise," 1918).
Paris. Galerie de France. "Modigliani, 1884–1920: Peintures," December 21, 1945–January 31, 1946, no. 30 (as "Portrait de Madame Hébuterne," 1918).
New York. Paul Rosenberg &amp; Co. "Collectors' Choice: Masterpieces of French Art from New York Private Collections," March 17–April 18, 1953, no. 26 (as "Portrait of Mme. Hébuterne," 1918, lent by Mr. and Mrs. Nate B. Spingold).
New York. The Metropolitan Museum of Art. "The Nate and Frances Spingold Collection," March 23–June 19, 1960, unnumbered cat. (as "Jeanne Hébuterne").
Edinburgh. Royal Scottish Academy. "Modigliani," August 17–September 15, 1963, no. 45 (as "Jeanne Hébuterne [en Chemise]").
London. Tate Gallery. "Modigliani," September 28–November 3, 1968, no. 45.
Waltham, Mass. Dreitzer Gallery, Spingold Theater, Brandeis University. "Nate B. and Frances Spingold Collection," June 11–16, 1965, no catalogue.
National Museum of Modern Art, Tokyo. "Modigliani," July 19–September 29, 1985, no. 124.
Nagoya. Aichi Prefectural Art Gallery. "Modigliani," October 23–November 7, 1985, no. 124.
Canberra. Australian National Gallery. "20th Century Masters from The Metropolitan Museum of Art, New York," March 1–April 27, 1986, unnumbered cat. (p. 37).
Brisbane. Queensland Art Gallery. "20th Century Masters from The Metropolitan Museum of Art, New York," May 7–July 1, 1986, unnumbered cat.
London. Royal Academy of Arts. "Italian Art in the 20th Century: Painting and Sculpture 1900–1988," January 14–April 9, 1989, no. 64 (as "Portrait of Jeanne Hébuterne").
Düsseldorf. Kunstsammlung Nordrhein-Westfalen. "Amedeo Modigliani. Malerei—Skulpturen—Zeichnungen," January 19–April 1, 1991, no. 88 (as "Bildnis Jeanne Hébuterne," 1918).
Kunsthaus Zürich. "Amedeo Modigliani. Malerei—Skulpturen—Zeichnungen," April 19–July 7, 1991, no. 88.
New York. The Metropolitan Museum of Art. "Painters in Paris: 1895–1950," March 8–December 31, 2000, extended to January 14, 2001, unnumbered cat. (p. 41) [withdrawn early for Exh. Venice 2000].
Venice. Fondazione Giorgio Cini. "Modigliani e i suoi: Jeanne Hébuterne, André Hébuterne, Georges Dorignac, Amedeo Modigliani," October 8–December 24, 2000, no. 142.
Kyoto Municipal Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," September 14–November 24, 2002, no. 35.
Tokyo. Bunkamura Museum of Art. "Picasso and the School of Paris: Paintings from The Metropolitan Museum of Art, New York," December 7, 2002–March 9, 2003, no. 35.
Jewish Museum, New York. "Modigliani: Beyond the Myth," May 21–September 19, 2004, unnumbered cat. (pl. 74).
Washington, D. C. Phillips Collection. "Modigliani: Beyond the Myth," February 19–May 29, 2005, unnumbered cat.
London. Royal Academy of Arts. "Modigliani and His Models," July 8–October 15, 2006, no. 38.
Museum of Fine Arts, Houston. "The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920," February 4–May 6, 2007, no. 131.
Berlin. Neue Nationalgalerie. "Französische Meisterwerke des 19. Jahrhunderts aus dem Metropolitan Museum of Art, New York," June 1–October 7, 2007, unnumbered cat. (p. 261).

Selected Literature:
J[acques]. L[assaigne]. "Une Rétrospective Modigliani." Panorama des arts (January 1946), ill. p. 11, as "Jeanne Hébuterne".
Pierre Descargues. Amedeo Modigliani, 1884–1920. Paris, 1951, pl. 42, as "Portrait de Hébuterne assise," in the collection of Jacques Lindon.
Paolo D'Ancona. Modigliani, Chagall, Soutine, Pascin: Some Aspects of Expressionism. Milan, 1953, pp. 23–25, ill. (color), calls it "Mme Hébuterne Seated"; dates it 1918 in the text and 1917 in the caption.
Alfred M. Frankfurter. "Collectors and Million-Dollar Taste." Art News 52 (March 1953), p. 25, ill.
Arthur Pfannstiel. Modigliani et son œuvre. Paris, 1956, p. 153, no. 290, calls it "Jeune fille en chemise (Mme H.)" and dates it 1918; erroneously locates it as still in the Jacques Lindon collection.
Ambrogio Ceroni. Amedeo Modigliani, peintre: Suivi des "souvenirs' de Lunia Czechowska. Milan, 1958, p. 69, no. 152, ill. (color), as "Jeanne Hébuterne (en chemise)," 1918; erroneously locates it still in the Spingold collection.
John Russell. Modigliani. Exh. cat., Royal Scottish Academy, Edinburgh. 1963, p. 21, no. 45, colorpl. 30, dates it late summer or autumn 1918 during Hébuterne's first pregnancy.
Charles Sterling and Margaretta M. Salinger. French Paintings: A Catalogue of the Collection of The Metropolitan Museum of Art. Vol. 3, XIX–XX Centuries. New York, 1967, p. 241, ill., note that it was probably painted before Hébuterne gave birth in November 1918.
Ambrogio Ceroni. I dipinti di Modigliani. Milan, 1970, pp. 104–5, no. 326, ill. [French ed., 1972], calls it "Jeanne Hébuterne in Camicia" and dates it 1919; erroneously lists it as still in the Spingold collection.
J[oseph]. Lanthemann. Modigliani, 1884–1920, catalogue raisonné: Sa vie, son œuvre complet, son art. Barcelona, 1970, p. 131, no. 347, ill. p. 251, calls it "Jeanne Hébuterne, le doigt à la joue" and dates it 1919.
Bernard Zürcher. Modigliani. London, 1981, pp. 23–24, 31, colorpl. 69.
Claude Roy. Modigliani. 2nd rev. ed [1st ed., 1958]. New York, 1985, p. 96, ill. p. 126 (color), as "Portrait of Jeanne Hébuterne in a Chemise," 1918.
Terence Measham in 20th Century Masters from The Metropolitan Museum of Art, New York. Exh. cat., Australian National Gallery. Canberra, 1986, p. 37, ill. (color) and back cover (color), dates it 1918 when Hébuterne "was almost certainly pregnant"; notes that among the more than twenty known portraits of Hébuterne, this is the only one depicting her less than fully dressed.
William S. Lieberman. 20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 1, Painting: 1905–1945. New York, 1986, pp. 30–31, 63, ill. (color, overall and detail).
Gary Tinterow et al. The Metropolitan Museum of Art. Vol. 8, Modern Europe. New York, 1987, p. 125, colorpl. 103, date it 1918, noting that it was painted in the south of France during Hébuterne's first pregnancy.
Thérèse Castieau-Barrielle. La Vie et l'œuvre de Amedeo Modigliani. Paris, 1987, p. 220, ill. (color), calls it "Portrait de Jeanne Hébuterne en chemise".
Osvaldo Patani. Amedeo Modigliani: Catalogo generale. Vol. 1, Dipinti. Milan, 1991, p. 328, no. 338, ill. (color), dates it 1919.
Christian Parisot. Modigliani: Catalogue raisonné. Ed. Giorgio and Guido Guastalla. Vol. 2, Peintures, dessins, aquarelles. Livorno, 1991, pp. 340–41, no. 11/1919, ill. p. 240.
Anette Kruszynski. Amedeo Modigliani: Portraits and Nudes. Munich, 1996, pp. 74, 119, ill. p. 71 (color detail), dates it 1918.
The Reader's Digest Collection. Sotheby's, New York. November 16, 1998, p. 106, under no. 25, fig. 4 (color).
Christian Parisot et al. in Modigliani e i suoi: Jeanne Hébuterne, André Hébuterne, Georges Dorignac, Amedeo Modigliani. Exh. cat., Fondazione Giorgio Cini, Venice. Borgaro Torinese, 2000, pp. 227–28, 236, no. 142, ill. p. 215 (color), date it 1919, during Hébuterne's second pregnancy.
Christian Parisot. Modigliani: La Vita le opere. Rome, 2006, ill. p. 287 (color).
Kathleen Brunner in Modigliani and His Models. Exh. cat., Royal Academy of Arts. London, 2006, p. 150, notes that Modigliani made about twenty-five portraits of Hébuterne.
Jeffrey Meyers. Modigliani: A Life. Orlando, 2006, p. 210.
Sabine Rewald in The Masterpieces of French Painting from The Metropolitan Museum of Art: 1800–1920. Exh. cat., Museum of Fine Arts, Houston. New York, 2007, pp. 176, 237, no. 131, ill. (color and bw), notes that Modigliani painted twenty-some-odd portraits of Hébuterne.
Sabine Rewald in Masterpieces of European Painting, 1800–1920, in The Metropolitan Museum of Art. New York, 2007, pp. 208, 278–79, no. 192, ill. (color and bw).
Marc Restellini. Le Silence éternel: Modigliani-Hébuterne 1916–1919. Paris, [2008], p. 142, compares it to "Jeanne Hébuterne aux épaules nues" (1919; private collection).
Christoph Vitali, ed. Amedeo Modigliani: Ein Mythos der Moderne. Exh. cat., Kunst und Ausstellungshalle der Bundesrepublik Deutschland, Bonn. Cologne, 2009, pp. 128, 182, no. 117, ill. (color).

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Reclining Nude, c.1919

X63466
Reclining Nude

c.1919
painting
Oil paint on canvas
unconfirmed: 724 x 1165 mm
The Museum of Modern Art, New York. Mrs. Simon Guggenheim Fund, 1950
Provenance:
The artist;
By 1926 - 1928, Jonas Netter, Brussels and Paris, probably acquired from the artist;
1928 - 1932, Alex Reid &amp; Lefèvre, London (no. 156/28) and Modern Paintings, Inc. (formerly De Hauke &amp; Co., Inc., no. M-3280), New York, jointly purchased from Jonas Netter through Etienne Bignou, Paris (no. 1074) and Mr. [M. Florent] Willems;
1932/1934 - 1946, Jacques Seligmann &amp; Co., Inc., New York and Paris (no. M-3280), acquired/assumed from Alex Reid &amp; Lefèvre and Modern Paintings, Inc;
1946 - November 22, 1949, Josef von Sternberg, Weekhawken, New Jersey, and Hollywood, California, acquired from Germain Seligman (Jacques Seligmann &amp; Co.) through Pierre F. Nesi, Beverly Hills, and sold at the auction sale of the Josef von Sternberg collection, Parke-Bernet Galleries, New York, November 22, 1949, lot 92;
1949, The Museum of Modern Art, New York, purchased at the auction sale of the Josef von Sternberg collection.
Lender’s address: 11 W 53rd St, New York, NY 10019, USA


Nationality of artist: Italian
Identifying marks: signed 'Modigliani' lower right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 200


Exhibition history:
The Lefevre Galleries, London, Modigliani: Exhibition of Paintings, March 1929. Nr. 23, Grand Nu Couché, ill.
Chicago, The Arts Club of Chicago, exhibition, 1929
Brussels, Palais des Beaux-Arts, Modigliani exhibition, 1933
Basel, Kunsthalle, exhibition, 1934
MoMA Exh. #85: "Art in our Time: 10th Anniversary Exhibition, Painting, Sculpture, Prints", May 10 - September 30, 1939 (39.281)
Portland Art Museum, 1940
Chicago, The Arts Club of Chicago, exhibition, 1946
MoMA Exh. #413: "Twentieth Century Italian Art", June 28 - September 18, 1949 (49.1534)
MoMA Exh. #441: "Recent Acquisitions", March 28 - May 7, 1950
MoMA Exh. #324: "Painting, Sculpture, and Graphic Arts from the Museum Collection", July 27, 1950 - January 4, 1951; June 11, 1951 - January 16, 1952; March 24, 1952 - September 13, 1954; October 1, 1955 - September 11, 1957; January 8 - removed April 7, 1958
Cleveland Museum of Art, "Modigliani-Soutine", January 30 - March 18, 1951
MoMA Exh. #474: "Modigliani", April 10 - June 10, 1951
MoMA Exh. #324
MoMA Exh. #500: "Masterworks Acquired through The Mrs. Simon Guggenheim Fund", January 29 - March 23, 1952
MoMA Exh. #324
MoMA Exh. #567: "XXVth Anniversary Exhibitions: Paintings", 1st floor, October 19, 1954 - January 23, 1955
MoMA Exh. #573: "Painting and Sculpture from the Museum Collection: New Acquisitions", March 5 - April 24, 1955
MoMA Exh. #324
Boston, Museum of Fine Arts, "European Masters of Our Time", October 10 - November 17, 1957
MoMA Exh. #324
MoMA Exh. #635: "Second Floor Permanent Collection", October 8, 1958 - ?; September 7, 1961 - October 26, 1962
MoMA SP-ICE-22-58: "20th Century Italian Art from American Collections", April - October 1960
Boston, Museum of Fine Arts, "Amadeo Modigliani", January 19 - February 25, 1961 and tour:
Los Angeles County Museum of Art, March 28 - April 30, 1961
MoMA Exh. #635
MoMA Exh. #713: "Painting, Sculpture, Graphic Arts from the Museum Collection", January 30 - November 3, 1963
Washington, D.C., National Gallery of Art, "Paintings from The Museum of Modern Art, New York", December 16, 1963 - March 1, 1964 (extended to March 22)
MoMA Exh. #732: "Art in a Changing World: 1884-1964: Painting and Sculpture from the Museum Collection", II-6, May 27, 1964 - October 5, 1966; II-6, November 16, 1966 - November 1969?
New York, Perls Galleries, "The Nudes of Modigliani", October 11 - November 12, 1966
MoMA Exh. #732
MoMA Exh. #909: "Painting and Sculpture from the Museum Collection", November 5, 1969 - October 6, 1971; II, July 7 - November 10, 1972
New York, Acquavella Galleries Inc., "Amadeo Modigliani Benefit", October 14 - November 13, 1971
To William A. Burden, January 4 - April 10, 1972
MoMA Exh. #909
MoMA Exh. #1002: "The Painting and Sculpture Collection: A New Perspective", II, December 15, 1972 - April 21, 1980
New York, The Metropolitan Museum of Art, "Modern Masters: European Painting from MoMA", June 5 - October 12, 1980
MoMA Exh. #1293: "Reinstallation of the Collection", II-4, February 7, 1981 - January 3, 1982
MoMA Exh. #1372: "Selections from the Permanent Collection: Painting and Sculpture", II-16B, May 17, 1984 - April 12, 1989; II-16, December 20, 1989 - December 19, 1990; August 28 - September 30, 1991; January 9 - August 4, 1992
Venice, Palazzo Grassi, "Arte Italiana 1900-1945", April 29 - November 5, 1989
MoMA Exh. #1372
Dusseldorf, Kunstsammlung Nordrhein-Westfalen, "Amadeo Modigliani", January 19 - April 1, 1991 and tour:
Zurich, Kunsthaus Zurich, April 19 - July 21, 1991
MoMA Exh. #1372
MoMA ICE-F-244-91: "The Museum of Modern Art von Cézanne bis Pollock", October 8 1992 - January 1993
MoMA ICE-F-245-92: "Masterworks from The Museum of Modern Art", February - May 1993
MoMA Exh. #1656: "Selections from the Permanent Collection of Painting and Sculpture", II-ST, September 11, 1993 - January 12, 1996; May 10, 1996 - ?
MoMA Exh. #1836A: "MoMA2000, ModernStarts: People, Language of the Body", October 7, 1999 - February 1, 2000
London, Royal Academy of Arts, "Paris: Capital of the Arts, 1900-1968", January 26 - April 19, 2002 and tour: Bilbao, Spain, Guggenheim Museum, May 21 - September 3, 2002
Buffalo, Albright-Knox Art Gallery, "Modigliani and the Artists of Montparnasse", October 18, 2002 - January 12, 2003 and tour: Fort Worth, Kimbell Art Museum, February 8 - May 25, 2003
Houston, The Museum of Fine Arts, "The Heroic Century: The Museum of Modern Art's Masterpieces, 200 Paintings and Sculptures", September 21, 2003 - January 4, 2004 and tour:
Berlin, Neue Nationalgalerie, "MoMA in Berlin: Masterworks from The Museum of Modern Art", February 18 - September 19, 2004
London, Royal Academy of Arts, "Modigliani and his Models", July 8 - October 15, 2006
Moscow, Pushkin State Museum of Fine Arts, "Meeting Modigliani", March 20 - May 27, 2007
Nagoya, Nagoya City Art Museum, "Amedeo Modigliani: A Retrospective", April 5 - June 1, 2008 and tour: Himeji, Himeji City Art Museum, June 8 - August 3, 2008; Morioka, Iwate Museum of Art, August 12 - October 5, 2008
MoMA Exh. #2063: "Painting and Sculpture Changes 2009", 5th Floor, gallery 7, added December 15, 2009 - April 30, 2013
MoMA Exh. #2226: "Painting and Sculpture Changes 2013", 5th Floor, gallery 7, added July 10, 2013 - February 1, 2017


Selected Literature:
Repr. PASITMOMA, p. 113; in color, Masters, p. 105; Modigliani (3rd), p. 49; Paintings from MoMA, p. 31; in color, Invitation, p. 78; in color, MoMA: Hist. and Coll., p. 77
André Salmon, Modigliani. Paris: Editions des Quatre Chemins, 1926, ill. plate 33.
Modigliani (exh.cat). Brussels: Palais des Beaux-Arts, 1933. Nr. 61, p.30-31 (ill.)
Modigliani. Paintings, drawings, sculpture (exh.cat). New York: The Museum of Modern Art, 1951. P.49, ill.
Lipchitz, Jacques, Amedeo Modigliani. New York: Harry N. Abrams, 1952. P. 3, ill.
Modigliani. Paintings and drawings (exh.cat). Los Angeles: Committee on fine arts productions, University of California, 1961. Nr. 40, p. 62, ill. p.28.
The Nudes of Modigliani (exh.cat). New York: Perls Galleries, 1966. Nr. 9, unpaginated, ill.
Alfred Werner, Modigliani. London: Thames &amp; Hudson, 1967. P. 130-131, ill.
J. Lanthemann, Modigliani, Catalogue Raisonnée. 1970. Barcelona: Gráficas Condal, 1970. Nr. 363, p.132 (ill p.255).
Leone Piccioni, I Dipinti di Modigliani. Milan: Rizzoli Editore, 1970. Nr.22, p.98, ill.
Amedeo Modigliani (exh.cat). New York: Acquavella Galleries, Inc., 1971. P. 48, ill.
Douglas Hall, Modigliani. London: Phaidon, 1979. Nr. 38, unpaginated, ill.
Bernard Zurcher, Modigliani. London: Eyre Methuen, 1981. Nr.34, unpaginated, ill.
Christian Parisot, Modigliani. Paris: Pierre Terrail, 1992. P. 118-119, ill.
Anette Kruszynski. Amedeo Modigliani. Portraits and Nudes. Munich: Prestel Verlag, 2000. P. 83, ill.
Kenneth Wayne, Modigliani and the Artists of Montparnasse (exh.cat). Buffalo, New York: Harry N. Abrams, Inc., Publishers in association with the Albright-Knox Art Gallery, 2002. Nr. 41, p. 118, ill.
Werner Schmalenbach, Modigliani. Munich: Prestel Verlag, 2005. Nr. 63, unpaginated, ill.
Mason Klein, Modigliani Beyond the Myth. New York: Jewish Museum, 2005. Fig. 13, p.66, ill.
Modigliani Y su Tiempo (exh.cat). Madrid: Museo Thyssen-Bornemisza, 2008. P. 25, ill.
Christoph Vitali. Modigliani, Ein Mythos der Moderne (exh.cat). Bonn: Kunst- und Ausstellungshalle der Bundesrepublik Deutschland, 2009. Nr. 172, p. 188, ill.



This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Young Girl with Loose Hair, 1919

X63484
Young Girl with Loose Hair

1919
painting
Oil paint on canvas
unconfirmed: 1000 x 640 mm frame: 1310 x 950 x 190 mm
Nahmad Collection, Monaco
Provenance:
Léopold Zborowski (1873–1956), acquired directly from the artist;
Galerie Montaigne, by 1920 [1];
Roger Dutilleul, Paris, until at least 1930 [2];
Sam Salz (1894–1981), New York 1938 or later [3] [4] [5];
Nate B. and Frances Spingold, New York by 1955;
by whom sold, Sotheby's, Important Impressionist and Modern Paintings from the Collection of the Late Nate B. and Frances Spingold, London, Monday 29 November 1976, lot 16;
Acquavella Galleries, New York, 1995;
rom whom acquired by the present owner, a private collector, in 1995.
Included in Impressionist and Modern Art Evening Sale, 08 May 2007, Sotheby’s New York, Lot 38; unsold.


[1] The work is listed as being in the collection of Zborowski n Montaigne, 1920. From Lille 2016: ‘It seems highly likely that Dutilleul purchased five paintings from Léopold Zborowski in December 1920, at the Modigliani retrospective that the Polish dealer held at the Montaigne gallery [including] ‘Girl in Blue’ (Ceroni 299’ Seated Girl, Untied Hair) … The exhibition catalogue was extensively annotated by Dutilleul, and he clearly marked these five works as being part of his collection.’
[2] The work is listed as being in the collection of Roger Dutilleul in Venice 1930, there titled Fanciulla in azzurro (Girl in blue) and appears in photographs of the collector’s home.
[3] ‘Collected and dealt in French impressionist and post-impressionist paintings on both sides of the Atlantic for more than half a century. Mr. Salz helped form the collections of Paul Mellon, Henry Ford 2d, Edgar and Bernice Chrysler Garbisch, Andre Meyer and David Rockefeller. Salz was married to the former Janet Reisner Traeger.’ The Frick Collection Archives Directory for the History of Collecting in America, http://research.frick.org/directoryweb/browserecord.php?-action=browse&amp;-recid=7131 (accessed August 2017).
[4] ‘Mr. Salz, who first visited the United States in 1936, went back to Europe initially after World War II to help the Commission of Reparation recover paintings the Germans had taken in less regular fashion during the war.’ He moved to NY in 1938. (Source: NY Times obituary March 22 1981 http://www.nytimes.com/1981/03/22/obituaries/sam-salz-art-dealer-and-collector-of-impressionist-works-dies-at-87.html?pagewanted=print)
[5] The Salz archive is held by the NGA Washington. They have supplied a photograph of the dealer’s stamp on the verso of the work, there titled Filette blonde en bleue.
Lender address:  Private collection c/o Matthew Gale, Head of Displays, Tate Modern
Nationality of artist: Italian
Identifying marks: Signed ‘Modigliani’, upper right
Place of manufacture: South of France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972, No. 299.

Exhibition history:

Paris, Galerie Montaigne, December 1920
Venice, XVIIe Esposizione Internazionale Biennale d’Arte, 1930, no. 22
New York, The Museum of Modern Art, Paintings from Private Collections, 1955, no. 103
New York, Hammer Galleries, Modern Masters, 2 May – 29 July 2011, p.56-57 (illustrated p.57)
Paris, Galerie Charpentier, Cent tableaux de Modigliani, 1958, no.62
Marseille, Musée Cantini, Modigliani, 10 June – 27 July 1958
Lille, Lille Métropole Musée d’art modern d’art contemporain et d’art brut, Amedeo Modigliani, A Retrospective, 26 February – 5 June 2016, no. 10, p. 147 (illustrated in colour)

Selected Literature:
André Salmon, Modigliani – sa vie, son oeuvre, Paris, 1926, no. 35, (illustrated, titled Jeune fille en bleu)
Jean Cocteau, Modigliani, Paris, 1950, no. 17 (illustrated)
Ambrogio Ceroni, I Dipinti di Modigliani, Milan, 1970, no. 299, p. 103 (illustrated, catalogued with incorrect measurements)
Ambrogio Ceroni, Tout l’oeuvre complet de Modigliani, Paris, 1972, no. 299, p. 103 (illustrated)
Osvaldo Patini, Amedeo Modigliani, Catalogo Generale, Dipinti, Milan, 1991, no. 310, p. 308 (illustrated, catalogued with incorrect measurements)
Manuel López Blázquez, Modigliani, translated from Spanish by Alberto Curotto, Barcelona:
Ediciones Polígrafa, 2006, no.30 (illustrated)

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Self-Portrait, 1919

X63507
Self-Portrait

1919
painting
Oil paint on canvas
unconfirmed: 1000 x 645 mm frame: 1230 x 880 x 90 mm
MAC USP Collection (Museu de Arte Conemporânea da Universidade de São Paulo, Brazil), Donation of Yolanda Penteado and Francisco Matarazzo Sobrinho
Provenance:
Léopold Zborowski, Paris, acquired directly from the artist;
Netter, Paris;
Riccardo Gualino, Turin, by 1930 [1];
Alberto Della Ragione, Genova, in 1938 from the above;
Private Collection, Biella, by 1947 [2]
Mr. and Mrs. Francisco Matarazzo Sobrinho in 1947 [3]
MAC USP Collection, donated in 1963 by the above [4]

[1] Venice 1930
[2] Franchi 1947
[3] Mr. Francisco Matarazzo Sobrinho acquired the work in 1947 in Milan in order to gift Yolanda Penteado on her birthday.
[4] The work was donated to MAC USP 15th January 1963, however it was kept at Yolanda Penteado's residence until 9th March 1973. (See curatorial files, MAC USP).

Lender’s address: Av. Pedro Álvares Cabral, 1301 - Ibirapuera, São Paulo - SP, 04094-050, Brazil

Nationality of artist: Italian
Identifying marks: signed 'Modigliani', upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 337

Exhibition history:
Mostra Individuale di Amedeo Modigliani. Venice: Le XVII Biennale di Venezia, 1930, Sala 31, no.1.
A Nova Pintura Francesa e seus Mestres - de Manet a nossos Dias. Museu de Arte Moderna de São Paulo - MAMSP - São Paulo, 1949.
Cent Tableaux de Modigliani. Rue du Faubourg-Saint-Honoré, 76 – Paris, 1958.
Modigliani, Musée Cantini, Marseille: 10 June – 27 July 1958. No. 34
Homenagem a Francisco Matarazzo Sobrinho (1898-1977). MAC USP Ibirapuera - São Paulo, 23 June – 31 July 1977.
Acervo do MAC USP, MAC USP Ibirapuera - São Paulo, 1982.
Exposição do Acervo, MAC USP Ibirapuera - São Paulo, June 1983.
Uma Seleção do Acervo na Cidade Universitária, MAC USP Anexo Cidade Universitária - São Paulo, November 1983 – September 1984.
The Circle of Montparnasse: Jewish Artists in Paris 1905 – 1945. The Jewish Museum – New York, 22 November 1985 – 2 February 1986.
Uma Seleção do Acervo: do Cubismo ao Abstracionismo, MAC USP Anexo Cidade Universitária - São Paulo, 1986.
Entre a Escola de Paris e o Modernismo, MAC USP Anexo Cidade Universitária - São Paulo, 1986-87.
Tendências da Arte do Século XX: Destaques da Coleção, MAC USP Anexo Cidade Universitária - São Paulo, 1987.
Tendências da Arte do Século XX: Destaques da Coleção, MAC USP Anexo Cidade Universitária - São Paulo, 1987-88.
MAC 25 Anos: Destaques da Coleção Inicial - Cidade Universitária, MAC USP Anexo Cidade Universitária - São Paulo, May-June 1988.
Destaques da Coleção, MAC USP Anexo Cidade Universitária - São Paulo, 1988-89.
Artistas Franceses na Coleção do MAC, MAC USP Anexo Cidade Universitária - São Paulo, 1989.
Tendências da Arte no Século XX, MAC USP Anexo Cidade Universitária - São Paulo, 1989-90.
Amedeo Modigliani, Martigny, Switzerland, June – November 1990.
70 anos depois, MAC USP Cidade Universitária - São Paulo, 1990-91.
Tendências da Arte no Século XX, MAC USP Anexo Cidade Universitária - São Paulo, 1991-92.
Tendências da Arte no Século XX, MAC USP Anexo Cidade Universitária - São Paulo, May-July 1992.
Amedeo Modigliani au Japon 1992-93. Tobu Museum - Tokio, November – December 1992 // Daimaru Museum - Kyoto, December 1992 – January 1993 // Daimaru Museum Umeda - Osaka, January – February 1993. The Museum of Modern Art - Ibaraki, February – March 1993.
Arte Moderna - Vanguarda, Derivações e Refluxos segundo o Acervo do MAC, MAC USP Sede Cidade Universitária - São Paulo, 1993-4.
Modernismo Paris Anos 20: Vivências e Convivências, MAC USP Sede Cidade Universitária - São Paulo, 1995.
Destaques da Coleção, MAC USP Sede Cidade Universitária - São Paulo, 1995.
Destaques do Século XX no Acervo do MAC, MAC USP Sede Cidade Universitária - São Paulo, 1996-8.
Destaques Internacionais do Acervo MAC USP, MAC USP Sede Cidade Universitária - São Paulo, SP, de 00/09/96 a 12/05/98
Arte Italiana em Coleções Brasileiras 1250-1950, Museu de Arte de São Paulo Assis Chateaubriand - MASP - São Paulo, December 1996 – January 1997.
Da Tela à Instalação: 1912 – 1972, MAC USP Sede Cidade Universitária - São Paulo, December 1998 – April 1999.
O Brasil no Século da Arte: A Coleção, MAC USP, Centro Cultural FIESP/Galeria de Arte do SESI - São Paulo, April – August 1999.
Exposição Permanente: a Coleção, MAC USP Sede Cidade Universitária - São Paulo, April 2001 –
August 2002.
Modigliani - L'Ange au Visage Grave, Musée du Luxembourg - Paris, November 2002 – March 2003.
Interfaces Contemporâneas - MAC 40 Anos, MAC USP Sede Cidade Universitária - São Paulo, April – November 2003.
70 Anos USP, MAC USP Sede Cidade Universitária - São Paulo, December 2003 – March 2005.
Núcleo Histórico, MAC USP Sede Cidade Universitária - São Paulo, March 2005 – January 2006.
Ciccillo, MAC USP Sede Cidade Universitária - São Paulo, April 2006 –2006.
Modigliani and his Models, Royal Academy of Arts – London, July – November 2006. Modigliani y su Tiempo, Museo Thyssen-Bornemisza - Madrid, February – May 2008.
Folhas de Viagem, MAC USP Sede Cidade Universitária - São Paulo, November 2012 – April 2013.
o AGORA, o ANTES: uma síntese do acervo do MAC, MAC USP Nova Sede Ibirapuera - 7º andar - Sala A - São Paulo, SP, April 2013 – Septemner 2015.
Visões da Arte no Acervo do MAC USP 1900-2000: Bastidores, MAC USP Nova Sede Ibirapuera - 7º andar - Ala A - São Paulo, December 2015 – July 2016.
Visões da Arte no Acervo do MAC USP: 1900-1950, MAC USP Nova Sede Ibirapuera - 7º andar - Ala A
- São Paulo, September 2016.

Selected Literature:
La XVII Biennale de Venezia 1930 Catalogo (ehx.cat.). Lionello Venturi, ‘Sala 31. Mostra Individuale di Amedeo Modigliani’. P.113-118. No.1.
Raffaello Franchi, Modigliani. Florence: Arnaud Editore, 1947. No. L, ill. (‘coll. Private, Biella, già Della Ragione, Genova, già Guliano, Torino, già Netter e già Zborowski, Parigi’)
Giovanni Scheiwiller, Amedeo Modigliani. Milan: Ulrico Hoepli, 1950. (Raccolta Matarazzo Sobrinoho)
Jacques Lipchitz, Amedeo Modigliani. New York: Harry N. Abrams, 1952. P.21, ill.
James Thrall Soby, Modigliani. New York: Museum of Modern Art, 1954. P. 53, ill.
Claude Roy, Modigliani. Pais: Editions d’Albert Skira, 1958. P.10, ill.
Franco Russoli, Modigliani. With a preface by Jean Cocteau. London: Thames and Hudson, 1959. Plate 36 and ill. on cover.
Alfred Werner, Modigliani. London: Thames and Hudson, 1967. P.2, ill. (Collection Mrs. Yolanda Penteado Matarazzo, São Paulo, Brazil)
Alfred Werner, Modigliani, Utrillo, Soutine.New York: Tudor Publishing Company, 1969, p.43.
J. Lanthemann, Modigliani, Catalogue Raisonnée. Barcelona: CondaL, 1970. No. 354, p. 131, ill. p.
253.
Walter Zanini., Exposição - Homenagem a Francisco Matarazzo Sobrinho. São Paulo: MAC USP, 1977, no. 135.
Bernard Zurcher, Modigliani. London: Eyre Methuen, 1981. No.71, p.31, ill.
Aracy Amaral, Wolfgang A. Pfeiffer, Uma seleção do acervo na Cidade Universitária. São Paulo: MAC USP, 1983.
Aracy Amaral, Museu de Arte Contemporânea da Universidade de São Paulo: Perfil de um Acervo.
São Paulo: MAC USP / TECHINT, 1988, p.69.
O Museu de Arte Contemporânea da Universidade de São Paulo. São Paulo: Banco Safra, 1990, p.193.
Werner Schmalenbach, Amedeo Modigliani. München: Prestel - Verlag, 1990, p.43.
Daniel Marchessau, Modigliani. Lausanne: Fondation Pierre Gianadda, 1990, p.192.
Modigliani - O Círculo Judaico de Montparnasse. São Paulo / Porto Alegre: 1991.
Osvaldo Patani, Amedeo Modigliani. Milano: Leonardo Editore s.r.l., 1991, p.336.
Exposition Amedeo Modigliani au Japon 1992-1993. Ibaraki: Museu Daimaru de Umeda, 1992, p.141.
Christian Parisot, Modigliani. Paris: Pierre Terrail, 1992. P. 5, ill.
Modernismo Paris Anos 20: Vivências e Convivências. São Paulo: MAC USP, 1995, p.13.
Barbara Horn (ed.), Modigliani. Bristol: Parragon Book Service Ltd, 1996. P.78, ill.
José Teixeira Coelho Netto, O Brasil no Século da Arte: a Coleção MAC USP. São Paulo: MAC USP / Lemos Editorial, 1999, p.14.
Carmen Abranha, Museu de Bolso. São Paulo: Lemos Editorial, 2000, p. 14.
Maria Mimita Lamberti, Lionello Venturi e la pittura a Torino. Torino: Fondazione CRT Cassa di Rispamio di Torino, 2000, p.77.
Valdemar Vello et al., Artes - pranchas de linguagem visual: minigaleria e glossário. São Paulo: Editora Scipione, 2001, p.8.
Auto-retrato: espelho de artista. São Paulo: MAC USP / SESI, 2001.
Marc Restellini, Modigliani. The Melancholy Angel (exh.cat.). Paris: Musée de Luxembourg, 2002.no. 110, p. 402, ill p. 403 and p.405.
Una Enigma del Giorno: Museu de Arte Contemporânea da Universidade de São Paulo. Japan: Kodansha Publishers, 2002 The Museums of the World - vol.: 98, p. 26.
Elza Ajzenberg, MAC USP 40 anos: Interfaces Contemporâneas. São Paulo: MAC USP, 2003, p.19.
José Teixeira Coelho Netto and Martin Grossmann, Coleção MAC Collection. São Paulo: Comunique / MAC USP, 2003, p.68.
Paolo Rusconi, Aggiunte agli scritti di Renato Birolli per gli anni 1930-33. Milão: CUEM, 2004 L'Uomo Nero - vol.: 2, p. 270. No. 4.
Elza Ajzenberg, MAC USP: acervo virtual. São Paulo: MAC USP, 2006, p.57.
Modigliani and his Models. London: Royal Academy of Arts, 2006, p.139.
Elza Ajzenberg, Ciccillo: acervo MAC USP. São Paulo: MAC USP, 2006, p.31.
Daniela Alarcon and Vitor Borysow, Reter a arte do presente. São Paulo: PRCEU USP, 2006, p.6.
Percival Tirapeli, São Paulo: artes e etnias. São Paulo: UNESP/Imprensa Oficial do Estado de SP, 2007, p.380.
Museu de Arte Contemporânea da Universidade de São Paulo - a história de um grande acervo. São Paulo: MAC USP, 2007.
Modigliani Y Su Tiempo (exh.cat). Madrid: Museo Thyssen – Bornemisza, 2008. No. 1, p.48-49, ill p. 49 and p.36.
Krystof, Doris. Amedeo Modigliani, 1884-1920: the poetry of seeing. Cologne: Taschen, 2015. P.6, ill.

This work was produced before the operative period 1933–45. Its provenance during these years is not fully documented, however consultation with the relevant sources and experts gives no evidence of wrongful taking.

Amedeo Modigliani, Portrait of Léopold Zborowski, 1916-19

X63516
Portrait of Léopold Zborowski

1916-19
painting
Oil paint on canvas
unconfirmed: 1000 x 650 mm frame: 1080 x 740 x 70 mm
Museu de Arte São Paulo Assis Chateaubriand, gift of Euvaldo Lodi, 1950. Inv. 150 P
Provenance:
Léopold Zborowski, Paris, acquired directly from the artist; Jonas Netter, Paris; Alex Reid &amp; Lefevre, London, in 1929; De Hauke, New York, 1930, became co-owner with 50% stake [1] [2] [3];
Étienne Bignou, Paris [4] [5]; Marlborough Fine Art Ltd., London; Euvaldo Lodi, acquired from the above May 1949 [6]; Museu de Arte, Sao Paulo (MASP), donated by Euvaldo Lodi, 1950 [7]
[1] In 1926 the New York office of Jacques Seligmann &amp; Co., Inc. moved to The New York office moves to 3 East Fifty-first Street. Germain Seligman, with César Mange de Hauke, sets up de Hauke &amp; Co., Inc., to sell modern European paintings to American clients. During the second half of the 1920s, de Hauke showed the work of modern French School artists in New York City. He exhibited works by Pierre Bonnard, Amedeo Modigliani, Odilon Redon, Ker-Xavier Roussel, Edouard Vuillard, and many others. In 1930 De Hauke became Modern Paintings, Inc.; in 1931 De Hauke resigned and returned to Paris. From Jacques Seligmann &amp; Co. records, 1904–1978, bulk 1913–1974. Archives of American Art, Smithsonian Institution.
[2] See Jacques Seligman &amp; Co. Rec ords, Stock catalog: Painting 1927-1931, no.2 (Box 284, folder 8). Painting inventory number: 3284. A photo 3284, also in the archives Seligmann, Collectors: Alex Reid &amp; Lefevre, Box 175, folder 10, carta 21, confirms that it is Ceroni 310.
[3] In Leopold Zborowski, Modigliani, Milano 1945, the painting is listed as belonging to de Hauke (no. XVI)
[4] Bignou Gallery Albums. The Frick Collection/Frick Art Reference Library Archives, MS.24, containing photographs and descriptions of artwork that passed through the hands of the Bignou Gallery (New York) during the 1930s and 1940s, includes the work ‘Portrait de Zborowski, 1918’, under ‘Collections’ it is written ‘M.Zborowski, Paris’ (illustrated).
[5] Étienne Bignou (1891–1950) was an art dealer who opened his own gallery in Paris in 1927. With Gaston and Josse Bernheim Jeune, Bignou bought the Parisian auction house Galerie Georges Petit and hired Georges Keller to direct it in 1929. Following the closure of the Galerie Georges Petit in 1932, Keller entered into partnership with Bignou and together they ran the Galerie Étienne Bignou, Paris. Keller became director of the New York branch of Bignou Gallery in about 1935. Étienne Bignou died in 1950 and by 1953 Keller had closed Bignou Gallery and was director of Carstairs Gallery, New York. From The Frick Collection Archives Directory for the History of Collecting in America, http://research.frick.org/directoryweb/browserecord.php?-action=browse&amp;-recid=6045 (accessed July 2017).
[6] Letter from Marlborough Fine Art Ltd., London to the Brazillian Embassy, 31 October 1950 states that the painting ‘originates directly from the family Zborowski’ and refers to the painting being ‘purchased from us last May’.
[7]The work is listed as being on loan from Museu de Arte, Sao Paulo Brazil in The Museum of Modern Art exhibition catalogue 1951, ill. p.45

Lender’s address: Av. Paulista, 1578 - Bela Vista, São Paulo - SP, 01310-200, Brazil

Nationality of artist: Italian
Identifying marks: Signed 'Modigliani' upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 310
 
Exhibition history:
London, Reid and Lefevre, Paintings by Modigliani, March 1929, no, 17 [according to record in Frick Archives]
Amsterdam, Stedelijk Museum, Tentoonstelling van Fransche Schilderkunst; Ecole de Paris, April–May 1932, No. 174 [according to record in Frick Archives]
New York, The Museum of Art and Musem of Modern Art, Modigliani, 1951, p. 51;
Florence, Arte Moderna in Italia, Palazzo Strozzi, Modigliani, 1966–1967;
Martigny, Fondation Pierre Gianadda, Amedeo Modigliani, 1990; 
Dusseldorf, Kunstsammlung Nordrhein-Westfalen , Amedeo Modigliani, 1991;
Zurich, Kunsthaus Zurich, Amedeo Modigliani, 1991;
Paris, Musée du Luxembourg, Modigliani the Melancholy Angel, 2002;
New York, Jewish Museum, Modigliani: Beyond the Myth, 2004;
Brazil, Museu de Arte de São Paulo Assis Chateaubriand, Olhar e Ser Visto, 2008–2010, continued until 2012;
Brazil, Museu de Arte de São Paulo Assis Chateaubriand, Passagens por Paris- Arte Moderna na Capital do século XIX, 2013–2015;
Brazil, Museu de Arte de São Paulo Assis Chateaubriand, Arte da França: de Delacroix a Cézanne, 2015; 
Brazil, Museu de Arte de São Paulo Assis Chateaubriand, Acervo em transformação - A coleção do MASP volta aos cavaletes de cristal de Lina Bo Bardi, 2015; 
Brazil, Centro Cultural Banco do Brasil Rio de Janeiro, Entre nós - a figura humana no acervo do MASP, 2017.  

Selected Literature:
Giovanni Scheiwiller, Amedeo Modigliani, Milan, 1927 p. 22 – Tate library
De Hauke and Co., New York, and Christian Zervos, Catalogue of Paintings by Amedeo Modigliani ... To Be Exhibited at De Hauke and Co. Inc. ... From Oct. 21st to Nov. 9th 1929, New York 1929;
Fritz Neugass, Deutsceh Kunst und Dekoration 34 (1931 or December 1930), illustrated p. 236
Léopold Zborowski, Modigliani, Milan 1945, ill. 16
Leo Longanesi, Il mondo cambia, Milan 1950
Lionello Venturi, La peinture italienne du Caravage à Modigliani, Geneva 1952, p. 156
Paolo d´Ancona, Modigliani, Chagall, Soutine, Pascin: Some Aspects of Expressionism, Milan 1952, ill. 13
Jacques Lipchitz, Modigliani, New York 1954, ill. p. 4.
James Thrall Soby, Modigliani. New York: The Museum of Modern Art, 1954. P.45, ill.
Arthur Pfannstiel, Modigliani et son oeuvre: étude critique et catalogue raisonné, Paris 1956, ill. p. 142-143
Gualtieri di San Lazzaro, Modigliani, London 1957
Ambrogio Ceroni, Amedeo Modigliani: peintre, Milan 1958, p. 104
Franco Russoli, Modigliani, Preface by jean Cocteau. London: Thames and Hudson, 1959, plate 28.
Alfred Werner, Modigliani, London 1967, ill. p.136–137
J. Lanthemann, Modigliani: Catalogue Raisonnée. Barcelona: Condal, 1970. No. 321, p. 129, ill.p.244.
Leone Picconi and Ambrogio Ceroni, I dipinti di Modigliani. No. 310, p.104, ill. LX.
Modigliani (exh.cat). Musée Saint-Georges, Liege, 1980. Not included in exhibition but illustrated on p.24.
Bernard Zurcher, Modigliani. London: Eyre Muthuen Ltd, 1981. Ill. no. 18. Werner Schmalenbach, Amedeo Modigliani: Paintings, Sculptures, Drawings, Munich 1990, ill. p.50
Doriana Comerlati (ed.), Modigliani the Melancholy Angel (exh.cat). Paris: Musée de Luxembourg 2002. No. 94, p. 370, ill.p.371.
Mason Klein, Modigliani Beyond the Myth (exh.cat). New York: Jewish Museum 2004. Plate 72, p. 156.

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Elvira Resting at a Table, 1919

X63600
Elvira Resting at a Table

1919
painting
Oil paint on canvas
unconfirmed: 927 x 605 mm frame: 1130 x 814 x 78 mm
Saint Louis Art Museum, Gift of Joseph Pulitzer, Jr. in memory of his wife, Louise Vauclain Pulitzer
Provenance:
Léopold Zborowski (1889-1932), Paris, France [1] acquired directly from the artist; Simon Collection, Paris, France; Paul Guillaume (1891-1934), Paris, France by 1929 - still in 1934 [2]; Alex Reid &amp; Lefevre, Ltd. (A. J. McNeill Reid), London, England [3] from at least 1934 – 1936; Valentine Gallery (Valentine Dudensing), New York, USA in 1936; Joseph Pulitzer Jr. (1913-1993), St. Louis, MO, purchased from Valentine Gallery [4], 1936-1968; Saint Louis Art Museum, given by Joseph Pulitzer Jr. in memory of his wife, Louise Vauclain Pulitzer in 1968 [5]

[1] Léopold Zborowski set up his art trade in 1916, and by 1918 had established himself as Modigliani's exclusive dealer.
[2] A 1929 publication lists this painting in the collection of Paul Guillaume, with Simon and Zborowski as former collections [Pfannstiel, Arthur. "Modigliani." Paris: Éditions Marcel Seheur, 1929]. This painting was also lent by Guillaume under the title "Elvire, enfant du peuple," for an exhibition in 1933 ["Modigliani." Palais des Beaux-Arts, Brussels, November 1933, cat. 48] and again in 1934 for an exhibition at the Kunsthalle Basel ["Modigliani." Kunsthalle Basel, January 7 - February 4, 1934, cat. 40].
[3] SLAM records list McNeill Reid in the provenance, while published sources list Reid &amp; Lefevre, London [Patani, Osvaldo. "Amedeo Modigliani Catalogo Generale". Milan: Leonardo, 1991, cat. 283; and "Amedeo Modigliani 1884-1920." Musée d'Art Moderne de la ville de Paris, 1981, cat. 72; SLAM document files]. The dealer A. J. McNeill Reid was the son of the founder of Alex Reid &amp; Lefevre, Ltd.
[4] Joseph Pulitzer purchased the painting from Valentine Gallery March 2, 1936 [SLAM document files].
[5] Minutes of the Administrative Board of Control and Associate Members of the Board of Control of the City Art Museum, December 28, 1968.

Lender’s address: 1 Fine Arts Dr, St. Louis, MO 63110, USA

Nationality of artist: Italian
Identifying marks: signed 'Modigliani' upper right
Place of manufacture: Paris, France
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972. No. 270
Exhibition history:
Staatliche Kunstsammlungen Dresden, Internationale Kunstausstellung, June - September, 1926.
Kunsthaus Zürich, Italienische Maler, March 18 - May 1, 1927
Valentine Gallery, Since Cézanne, December 28, 1931 - January 16, 1932.
Palais des Beaux Arts, Brussels, Modigliani, November 1933. No. 48, ill.
Kunsthalle Basel, Modigliani, January 7 - February 4, 1934.
Valentine Gallery, 20th Century French Paintings, January 1936
Fogg Art Museum, Harvard University Art Museums, Exhibition of Modern Paintings, May 1936.
Philadelphia Museum of Art, French Art, March 20 - April 18, 1937.
City Art Museum of Saint Louis, Loan Exhibition of 20th Century European Art, August - September 1941.
City Art Museum of Saint Louis, A St. Louis Private Collection, Summer - Autumn 1947.
The Phillips Collection, Amedeo Modigliani, October 14, 1945 - May 15, 1946.
The Cleveland Museum of Art / Museum of Modern Art, New York Modigliani: Paintings, Drawings, Sculpture, January 30 - June 10, 1951.
Fogg Art Museum, Harvard University Art Museums / M. Knoedler &amp; Co., Inc., Modern Painting, Drawing &amp; Sculpture Collected by Louise and Joseph Pulitzer, Jr. (1957), April 9 - September 15, 1957.
Los Angeles County Museum of Art / Museum of Fine Arts, Boston, Modigliani Paintings and Drawings, 1961.
Fogg Art Museum, Harvard University Art Museums, Works of Art from the Collections of the Harvard Class of '36, June 11 - August 25, 1961.
City Art Museum of Saint Louis, Works of Art of the Nineteenth and Twentieth Centuries, Collected by Louise and Joseph Pulitzer, Jr., January 23 - March 24, 1968
Saint Louis Art Museum, 20th Century Masterworks from St. Louis Collections, December 1, 1973 - February 3, 1974.
Musée d'Art Moderne de la Ville de Liege, Amedeo Modigliani 1884-1920, March 26 - June 28, 1981.
Aichi Prefectural Museum of Art / The National Museum of Modern Art, Tokyo, Modigliani, July 19 - November 7, 1985
Fogg Art Museum, Harvard University Art Museums / Saint Louis Art Museum, Modern Art from the Pulitzer Collection: 50 Years of Connoisseurship, April 16 - August 28, 1988
Los Angeles County Museum of Art / Kimbell Art Museum / Albright-Knox Art Gallery, Modigliani and the Artists of Monparnasse, October 18, 2002 - September 28, 2003

Selected Literature:
Perry T. Rathbone, Journalist-Collector: a Nose for the New, Art News
Ambrogio Ceroni: Amedeo Modigliani Dessins et Sculptures avec suite du catalogue illustré des peintures, Monographies des Artistes Italiens Modernes
Saint Louis Art Museum, The St. Louis Art Museum: Handbook of the Collections
Bernadette Contensou, Amedeo Modigliani 1884-1920
Claude Roy Modigliani - A Taste of Our Time
Charles E. Buckley Works of Art of the Nineteenth and Twentieth Centuries Collected by Louise and Joseph Pulitzer, Jr., Saint Louis Art Museum
Charles Scott Chetham, Modern Painting, Drawing &amp; Sculpture Collected by Louise and Joseph Pulitzer, Jr.
Arthur Pfannstiel, Modigliani, L'art et la vie
Frederick S. Wight, Modigliani Paintings and Drawings Museum of Fine Arts, Boston and Los Angeles County Museum of Art
Modigliani, 1985
William N. Eisendrath Jr., Painting and Sculpture of the School of Paris in the Collection of Mr. and Mrs. Joseph Pulitzer, Jr. of St. Louis, The Connoisseur
Mary Ann Steiner, Saint Louis Art Museum: Handbook of the Collection, Saint Louis Art Museum
Jacques Lipchitz, Amedeo Modigliani (1884-1920)
Ambrogio Ceroni and Françoise Cachin, Tout l'oeuvre peint de Modigliani
Christian Parisot, Modigliani Catalogue Raisonné: Peintures, Dessins, Aquarelles
Works of Art from the Collections of the Harvard Class of '36, Fogg Art Museum, Harvard University =
Internationale Kunst Ausstellung, 1926
A New View: The Modern City, Saint Louis Art Museum Magazine, Saint Louis Art Museum
Perry T. Rathbone, French Impressionist Paintings in Saint Louis Private Collections, The Connoisseur
Parallel Tracks, Harvard Magazine, May-June 1988
Harper Barnes, An Enduring Passion for Art: The Pulitzer Collection Reflects a Persistent Quest for the 'Quarry', The St. Louis Post-Dispatch
Collector's Choice, Time, April 15 1957
Tributes: Joseph Pulitzer, Jr., Saint Louis Art Museum Magazine, July-August 1993
Angelica Zander Rudenstine, Modern Painting, Drawing &amp; Sculpture Collected by Emily and Joseph Pulitzer, Jr.
Italienische Maler, 1927
Charles Scott Chetham, Modern Painting, Drawing &amp; Sculpture Collected by Louise and Joseph Pulitzer, Jr.
Modigliani, Palais des Beaux Arts, Brussels
Among Recent Acquisitions, Bulletin of the City Art Museum of Saint Louis, Saint Louis Art Museum
Favorites from Our Collection, The Saint Louis Art Museum Magazine, April – June 2000
Valentine Gallery Records 1924-1948 (Dudensing Scrapbook), Archives of American Art / Smithsonian Institution, 1948
Joseph Pulitzer, Jr. is Dead at 80: Publisher was Avid Art Collector, The New York Times, May 27, 1993
The Pulitzer Art Collection Earned Worldwide Respect, The St. Louis Post-Dispatch, May 27, 1993
Charles-Albert Cingria, Modigliani, Kunsthalle Basel
Claude Roy, Modigliani
James Thrall Soby, Modigliani: Paintings, Drawings, Sculpture, Museum of Modern Art, New York
Arthur Pfannstiel, Modigliani et son Oeuvre. Étude Critique et Catalogue Raisonné
J. Lanthemann, Modigliani 1884-1920 Catalogue Raisonné
Marjorie B. Cohn, Classic Modern: The Art Worlds of Joseph Pulitzer Jr., Harvard Art Museums
Osvaldo Patani, Amedeo Modigliani Catalogo Generale
Gaston Diehl, Modigliani
Thérèse Castieau-Barrielle, La vie et l'oeuvre de Amedeo ModiglianiCentre Georges Pompidou - Musée National d'Art Moderne, Modigliani Et L'Ecole De Paris: En Collaboration Avec Le Centre Pompidou Et Les Collections Suisses
Thomas Wade Earp, C.G. Holme (ed), The Modern Movement in Painting
Recent Accessions of American and Canadian Museums, The Art Quarterly, Winter 1969
Kenneth Wayne, Modigliani &amp; the Artists of Montparnasse
The Burlington Magazine, Acquisitions of Modern Art by Museums.
Mary Morsell, French Masters of XXth Century in Valentine Show, Art News.
Bernhard Borchert, Modigliani (1884-1920)
Modern Art from the Pulitzer Collection: 50 Years of Connoisseurship, July 9 - August 28, 1988, Saint Louis Art Museum, 1966.
Adolphe Basler, Modigliani.
Modigliani et l'Ecole de Paris: en Collaboration Avec le Centre Pompidou et les Collections Suisses, 2013

This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

Amedeo Modigliani, Hanka Zborowska Seated, 1919

X67341
Hanka Zborowska Seated

1919
painting
Oil paint on canvas
unconfirmed: 1000 x 650 mm
Private Collection, courtesy of Connery & Associates
Provenance:
The artist;
Léopold Zborowski, Paris;
Roger Dutilleul (1873–1956), Paris (acquired c.1919) [1];
Thence by descent;
Acquired from the above by the present owner c.2000.

[1] Roger Dutilleul made his first acquisitions of art in 1904 and began purchasing seriously in 1907. For some of the artists [in his collection] the purchase dates are clearly marked, but for Modigliani, the list of works appears to have been drawn up at a later date, and in any case long after the first acquisitions, as indicated in the ‘memo’ section at the end. It is therefore not easy to establish the chronology of these purchases. (from Lille 2016) Photographs of Dutilleul’s apartment taken by Willy Maywald between 1951 and 1956 published in Plaisir de France and Lille 2016 show this painting in Dutilleul’s apartment.

Nationality of artist: Italian
Place of manufacture: Paris, France
Identifying marks: signed 'Modigliani', upper right
Catalogue raisonné: Ceroni, Ambrogio. Tout l’oeuvre peint de Modigliani. Paris: Flammarion, 1972, No. 314

Exhibitions:
Venice, XVII Esposizione Biennale Internazionale d’Arte, 1930, no. 577
Paris, Galerie Marcel Bernheim, Rétrospective Modigliani, 1931
Paris, Galerie de France, Modigliani, 1884–1920, Peintures, 1945, no. 35, illustrated in the
catalogue
Paris, Galerie Charpentier, Cent chefs-d’oeuvre des Peintres de l’Ecole de Paris, 1946, illustrated in
the catalogue p. 122a
Paris, Galerie Charpentier, Cent tableaux de Modigliani, 1958, no. 99
Paris, Musée d’Art Moderne de la Ville de Paris, Amedeo Modigliani 1884-1920, 1981, no. 87,
illustrated in colour in the catalogue p. 160

Selected Literature:
Giovanni Scheiwiller, Modigliani, Milan, 1950, pl. 33 (illustrated)
Florent Fels, L’Art vivant: De 1900 à nos jours, Geneva, 1956, illustrated p. 111
Ambrogio Ceroni, Amedeo Modigliani, Peintre, Milan, 1958, no. 149, illustrated
Claude Roy, Modigliani, Geneva, 1958, illustrated in colour p. 107
Gaston Diehl, Modigliani, Lugano, 1969, illustrated in colour p. 86
Csorba Géza, Modigliani, Budapest, 1969, pl. 47
Joseph Lanthemann, Modigliani, 1884-1920, Catalogue raisonné, sa vie, son oeuvre complet, son art,
Barcelona, 1970, no. 396 (illustrated)
Ambrogio Ceroni, I dipinti di Modigliani, Paris, 1970, no. 314, illustrated p. 104
Roger van Gindertael, Modigliani et Montparnasse, Milan, 1976, pl. XXXVI, illustrated in colour
p. 62
Carol Mann, Modigliani, London, 1980, no. 139, illustrated in colour p. 190
Claude Roy, Modigliani, Geneva, 1985, illustrated in colour p. 138
Thérèse Castieau-Barrielle, La vie et l’oeuvre de Amedeo Modigliani, Paris, 1987, illustrated in
colour p. 213
Christian Parisot, Modigliani, Catalogue raisonné, Peintures, Dessins, Aquarelles, Paris, 1991, vol. II,
no. 22/1919, illustrated p. 251
Osvaldo Patani, Amedeo Modigliani. Catalogo Generale Dipinti, Milan, 1991, vol. V, no. 326,
illustrated in colour p. 320
Sophie Levy et. al. Modigliani: The Inner Eye, (exhibition catalogue), Lille 2016, photographs of the work in the endpapers.

This work was produced before the operative period 1933–45 and has a complete provenance.

Amedeo Modigliani, Mario the Musician, 1920

X63463
Mario the Musician

1920
on paper, unique
Pencil on paper
unconfirmed: 489 x 305 mm
The Museum of Modern Art, New York. Gift of Abby Aldrich Rockefeller, 1935
Provenance:
The artist;
Leopold Zborowski, Paris;
May 19, 1931 – 1935, Abby Aldrich Rockefeller, New York. Purchased from the above;
1935-present, The Museum of Modern Art, New York. Gift of the above.

Lender’s address: 11 W 53rd St, New York, NY 10019, USA


Nationality of artist: Italian
Identifying marks: Signed and inscribed ‘Il Novo Anno / "Hic Incipit Vita Nova" / Modigliani’ upper right.
Place of manufacture: France
Catalogue Raisonnée: Ambrosio Ceroni. Modigliani. Dessins, Sculptures. Milan: Edizioni del Milione, 1965. No. 156.


Exhibition history:
MoMA Exh. #41: "Summer Exhibition: The Museum Collection and a Private Collection on Loan", June 5 – September 24, 1935
MoMA Exh. #45c: "New Acquisitions: The Collection of Mrs. John D. Rockefeller, Jr.", January 14 – February 16, 1936
MoMA Exh. #69: "Drawings by European and American Artists", January 11 – January 28, 1938
Grosse Pointe, Michigan, The Alger House Museum (J.S. Newberry), "Exhibition of French Drawings", May 1 – June 1, 1941
Detroit Institute of Arts, 19th and 20th Century French Drawings, 1941
MoMA, (Circulating Exhibition) 20th Century French Drawings, 1944-46
MoMA Exh. #347: "Drawings in the Collection of The Museum of Modern Art", April 15 – June 1, 1947
MoMA Exh. #413: "Twentieth Century Italian Art", June 28 – September 18, 1949
Cleveland Museum of Art, "Modigliani-Soutine", January 30 – March 18, 1951
MoMA Exh. #474: "Modigliani", April 10 – June 10, 1951
Chicago, Arts Club of Chicago, "Amedeo Modigliani", January 30 – February 28, 1959; show traveled to Milwaukee Art Center, March 5 – April 1, 1959 and The Contemporary Arts Center Cincinnati, "Modigliani: Paintings, Sculpture and Drawings" April 18 – May 20,1959, no. 53
MoMA Exh. #556: "Faces and Figures: Drawings from the Collection of the MoMA", April 21 – June 6, 1954
MoMA Exh. #1049: "Portraits", December 27, 1973 – April 28, 1974
MoMA Exh. #1092: "In the Twenties", March 21 – June 15, 1975
Buffalo, Albright-Knox Art Gallery, "The School of Paris: Drawing in France", April 29 – November 6, 1977
Paris, Musée d’Art Moderne de la Ville de Paris, "Modigliani". March 26 – June 28 1981.
Tokyo, The National Museum of Modern Art, "Modigliani Exhibition Japan 1985", July 19 – September 23, 1988; traveled to Nagoya, Aichi Prefectural Museum, October 23 - November 7, 1985
New York, The Jewish Museum, "Modigliani", May 21 – September 19, 2004 and tour: Toronto, The Art Gallery of Ontario, October 23, 2004 – January 23, 2005;
Washington, DC, The Phillips Collection, February 19 - May 29, 2005
MoMA Exh. #1961: "Transforming Chronologies: An Atlas of Drawings, Part I", The Paul J. Sachs Drawings Galleries, January 26 – April 24, 2006, no. 7 [Faces]
Moscow, Pushkin State Museum of Fine Arts, "Meeting Modigliani", March 20 – May 27, 2007


Selected Literature:
Art News. May 15, 1941, p. 10, ill.
Domus. September 1950, p. 60, ill.
Soby, James Thrall. "Modigliani." New York: The Museum of Modern Art, 1951, p. 53, ill. p. 48
Soby, James Thrall. "Modigliani." New York: The Museum of Modern Art, 1954, p.2, ill.
Modigliani, Jeanne. Modigliani: Man and Myth. Florence: Orion Press, 1958, ill. no. 100.
"Amedeo Modigliani: An Exhibition of Paintings, Sculpture and Drawings Organized by the Contemporary Arts Center, Cincinnati Art Museum." Cincinnati: Cincinnati Art Museum, 1958, no. 53, n.p.
Modigliani, Jeanne. "Modigliani sans leìgende." Paris: Gründ, 1961, ill. no. 105.
Russoli, Franco. "Modigliani: Drawings and Sketches." New York: Harry N. Abrams, 1969, n.p.
Patani, Osvaldo. "Amedeo Modigliani: Catalogo Generale 1906 – 1922." Milan: Leonardo, 1994, p. 290, ill.
Pérez-Oramas, Luis. "An Atlas of Drawings: Transforming Chronologies." New York: The Museum of Modern Art, 2006, no. 7, ill.
"Modigliani." Moscow: Pushkin State Museum of Fine Arts, 2007, no.50, ill. n.p.2
Ambrogio Ceroni. Modigliani. Dessins, Sculptures. Milan: Edizioni del Milione, 1965. No. 156, p. 39, ill.
Alfred Werner, Modigliani. London: Thames and Hudson, 1967. As ‘Man with a hat (Mario)’. No.74, p.64, ill.
J. Lanthemann, Modigliani, Catalogue Raisonnée. Barcelona: Gráficas Condal, 1970. As ‘Mario Varvoglio’. N. 1051, p.155, ill. p.390.
Werner Schmalenbach, Modigliani. Munich: Prestel Verlag, 2005. No.135, unpaginated, ill.
Mason Klein, Modigliani: Beyond the Myth (exh.cat). New York: Jewish Museum, 2004. As ‘Mario the Magician’, Plate No.142, p. 185, ill.
Anette Kruszynski, Amedeo Modigliani, Portraits and Nudes. Munich: Prestel Verlag, 2000. P.68, ill.
Modigliani (exh.cat). Paris: Musée d’Art Moderne de la Ville de Paris, 1981. No.220, p.225, ill.



This work was produced before the operative period 1933–45. Its provenance during these years is fully documented.

All Too Human: Bacon, Freud and a Century of Painting Life

Tate Britain (London, UK) from 28 Feb 2018 until 27 Aug 2018.

Francis Bacon
(1909-1992, born: Dublin, died: Madrid)

Francis Bacon, Study of a Baboon, 1953

X18668
Study of a Baboon

1953
painting
Oil paint on canvas
support: 1983 x 1373 mm frame: 2058 x 1444 mm
The Museum of Modern Art, New York. James Thrall Soby Bequest, 1979
Provenance:
Hanover Gallery, London;
George Dix and Durlacher Brothers, New York, half share in the painting, acquired from the above 6 October 1953;
James Thrall Soby, New Canaan, Connecticut, acquired from the above 10 July 1953;
Museum of Modern art, New York, acquired from the above by bequest 1979.

Nationality of Artist: British
Identifying marks: none or not recorded
Place of Manufacture: not recorded
Catalogue Raisonné: Martin Harrison, Francis Bacon: catalogue raisonné, The Estate of Francis Bacon, London, 2016, no.53-17
This work was made after the operative period 1933-45