Woman with red hair (Blond bust)

Identification

Published titles

English: Blond bust / Woman with red hair / The beautiful Irish / Young woman.

Date

1917?

Medium

Oil on canvas?

Dimensions

61 × 41 or 65 × 46 cm? Lanthemann: 15M. Ceroni and Patani: 66 × 41 cm.

Signature

Signed modigliani at top right.

Present location

Lost or stolen, or Musée Cocteau, Menton? This investigation lists Mori, Charles S. Wakefield, Menton Musée Municipal, and Musée Cocteau without a confirmed present location.

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. Mori Collection (Paris or Monaco?).
2. Charles S. Wakefield?
3. Menton, Musée Municipal.
4. Musée Cocteau, Menton? Lost or stolen?

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.

• Joseph Lanthemann, 1970, no. 224.¹
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 209, 66 × 41 cm, titled Blond bust.²
• Osvaldo Patani, 1991–94, no. 215.³

Exhibitions

• Venice, Biennale, Mostra retrospettiva di Modigliani, curated by Lionello Venturi, Sala XII degli Appels d’Italie, 1930, no. 34, as Woman portrait, C. Mori, Paris.

Notes

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

This investigation records that no good colour reproduction of the painting had been seen.

Lanthemann identifies the sitter as “the beautiful Irish girl.” Another painting of the same sitter, dated 1918 next to the signature, is cited in this investigation.

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