Identification

Title

Woman’s portrait.

Date

1916?.

Medium

Oil on canvas, recorded with a query; this investigation also records cardboard as probable. The Modigliani Project and Werner: oil on canvas.

Dimensions

47.6 × 33 cm. Alfred Werner: 46.3 × 32.4 cm.

Signature

Signed modigliani at bottom right, in red.

Present location

Neuberger Museum of Art, Purchase, New York. Gift of the Dina and Alexander E. Racolin Collection.

Catalogue numbers

Legal note on MR: This investigation has not had access to MR’s catalogue raisonné; all research here is based on open sources, publications and exhibitions. By no means has that catalogue been copied at any point. Modigliani Project and Modigliani Initiative are marked YES when the work is published or otherwise recorded by those projects, even if no catalogue number is assigned; otherwise the field is marked ?.

Provenance

1. Paul Guillaume, Paris.
2. Private collection, New York (Racolin Collection?).
3. Neuberger Museum of Art, Purchase, New York (gift of the Dina and Alexander E. Racolin Collection).

The sequence follows the published museum, sale, and catalogue record in this investigation. Gaps and uncertain transfers are marked as such.

Selected bibliography

Book-length publications are marked with a footnote giving a full citation. Exhibition catalogues appear in both this list and the exhibition list when this investigation recorded them in both places. Where this investigation listed a long run of secondary mentions, only the principal catalogues and museum or sale references are retained here.

• Alfred Werner, Amedeo Modigliani, New York, Abrams, 1966, no. 28, p. 27.
• Joseph Lanthemann, 1970, no. 100.¹
• Kenneth Wayne, 2002, p. 89.²
• Simonetta Fraquelli, “Modigliani, Fort Worth and Paris,” The Burlington Magazine 145 (2003), pp. 254–255.

Exhibitions

• Buffalo, Albright-Knox Art Gallery; Fort Worth, Kimbell Art Museum; Los Angeles County Museum of Art, Modigliani and the Artists of Montparnasse, 2002–2003, no. 12.

Notes

This investigation marks the work as not located in the D’Atri papers.

This investigation records construction lines of the kind used to mark a cut on cloth or cardboard, and notes the absence of corner holes.

A similar composition is recorded in a photograph or drawing of the Dutilleul Modigliani collection, and another similar composition appeared in a New York auction in the 1940s.

This investigation records a drawn ear painted over the colour.

The original this investigation marked several fields as still being checked. The facts above are those already published; where sources disagree, both readings are given.