Identification

Published titles

English: Germaine Survage; Madame Survage; Mme Survage with earrings; Woman with earrings; Blond woman.

Date

1918. Lanthemann dated the canvas 1919.

Medium

Oil on canvas. The Musée des Beaux-Arts, Nancy, records oil on canvas, 54 × 43 cm, inv. 65.2.76, dated 1918.

Dimensions

Musée des Beaux-Arts, Nancy, and Wayne: 54 × 43 cm. Patani: 53.5 × 42.5 cm. Parisot: 55 × 38 cm. The 1958 exhibition: 53.5 × 39.5 cm.

Signature

Signed modigliani at top right.

Present location

Musée des Beaux-Arts, Nancy, inv. 65.2.76. Bequest of Mme Henri Galilée, 1965 (this investigation also records 1953). Oil on canvas, 54 × 43 cm.

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. Survage Collection, Paris.
2. Private collection, Paris.
3. Galilée Collection (by 1929 until 1965).
4. Musée des Beaux-Arts, Nancy, inv. 65.2.76, bequest of Mme Henri Galilée.

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.

• Jeanne Modigliani, 1958, pl. 12, dated 1918.¹
• Ambrogio Ceroni, 1958, no. 106.²
• Jeanne Modigliani, Modigliani sans légende, Paris, Gründ, 1961, p. 104, no. 11.
• Joseph Lanthemann, 1970, no. 384, dated 1919.³
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 277, dated 1918.⁴
• Musée d’Art Moderne de la Ville de Paris, exhibition catalogue, 1981, pp. 36, 152.
• Thérèse Castieau-Barrielle, 1987, p. 186.⁵
• Osvaldo Patani, 1991–94, no. 294, dated 1918.⁶
• Christian Parisot, 1991, no. 28/1918.⁷
• Kenneth Wayne, 2002, p. 103, no. 26.⁸
• Simonetta Fraquelli, “Modigliani, Fort Worth and Paris,” The Burlington Magazine 145 (2003), pp. 254–255.
• Nancy Ireson and Simonetta Fraquelli, Tate Modern, 2017, p. 167.⁹

Exhibitions

• Rome, Galleria Nazionale d’Arte Moderna, Amedeo Modigliani, 1929? (this investigation, unconfirmed).
• Nancy, Musée des Beaux-Arts, La collection Henri Galilée, 1946, no. 70.
• Marseille, Musée Cantini, Modigliani, 1958, no. 20.
• Liège, Musée Saint-Georges, 1980, no. 20.
• Paris, Musée d’Art Moderne de la Ville de Paris, 1981, no. 75.
• Tokyo, National Museum, 1985, no. 104.
• Nagoya, Aichi Prefectural Art Gallery, 1985, no. 104.
• Martigny, Fondation Pierre Gianadda, 1990, no. 92 (size 52.5 × 42.5 cm).
• Colorno, Palazzo Ducale, Da Barocci a Modigliani, 1997, no. 72.
• Buffalo, Albright-Knox Art Gallery, 2002–03, no. 26.
• Fort Worth, Kimbell Art Museum, 2003, no. 26.
• Madrid, Museo Thyssen-Bornemisza, 2008.
• Bonn, 2009, no. 108.
• Seoul, Hangaram Museum, 2015.
• Villeneuve d’Ascq, LaM, 2016.
• Budapest, Hungarian National Gallery, 2016.
• Helsinki, Ateneum, 2016–17.
• London, Tate Modern, 2017–18.

Notes

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

This investigation records that Parisot assigned Pfannstiel no. 308 to this canvas; Pfannstiel no. 308 is the Burgundian woman.

This investigation records another portrait of the same sitter.

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