Identification

Published titles

English: Jeanne Hébuterne seated in a white shirt / Jeanne Hébuterne undressed in a chair / Mme Hébuterne seated / Young girl in a loose shirt / Jeanne Hébuterne with finger to cheek.

Date

1919 in Lanthemann, Ceroni, Parisot and Patani. Several earlier writers dated the canvas 1918, sometimes in connection with Hébuterne’s first pregnancy.

Medium

Oil on canvas.

Dimensions

91.4 × 73 cm (museum). Ceroni and Patani give 92 × 73 cm; the 1963 Edinburgh–London exhibition listed 95 × 73 cm.

Signature

Signed modigliani at top right.

Present location

Metropolitan Museum of Art, New York (inv. 56.184.2). Gift of Mr and Mrs Nate B. Spingold, 1956. The museum dates the canvas 1919 and gives 91.4 × 73 cm, which matches this file.

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. Léopold Zborowski, Paris.
2. Libaude Collection, Paris.
3. Galerie Bing, Paris, 1925.
4. B. Reichenbach Collection, Paris, 1925–37.
5. Hôtel Drouot, Paris, 3 June 1937, lot 18, sold for 30,000 FF.
6. Georges Hyordey Collection, Paris, 1937–51.
7. Galerie Bing, Paris, 1951.
8. Jacques Lindon Collection, New York, acquired 1951.
9. Nate B. Spingold Collection, New York, acquired 26 September 1951.
10. Metropolitan Museum of Art, New York, gift of Mr and Mrs Nate B. Spingold, 1956 (inv. 56.184.2).

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.

• André Salmon, 1926, pl. 24.¹
• Arthur Pfannstiel, 1929 presumed catalogue, p. 48.²
• Arthur Pfannstiel, 1956, no. 290, as Young girl in loose shirt (Mme H.), dated 1918, size given as 92 × 73 cm.³
• Ambrogio Ceroni, 1958, no. 152, as Jeanne Hébuterne (en chemise), dated 1918.⁴
• Joseph Lanthemann, 1970, no. 347, as Jeanne Hébuterne with finger to cheek, dated 1919.⁵
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 326, as Jeanne Hébuterne in shirt, dated 1919, size given as 92 × 73 cm.⁶
• Charles Sterling and Margaretta M. Salinger, 1967, p. 241.⁷
• Osvaldo Patani, 1991–94, no. 338.⁸
• Christian Parisot, 1991, no. 11/1919.⁹
• Mason Klein, 2004, p. 158, pl. 74.¹⁰
• Simonetta Fraquelli, Royal Academy 2006, no. 38.¹¹
• Nancy Ireson and Simonetta Fraquelli, Tate 2017, p. 185.¹²
• Bezur, Centeno, Duvernois et al., The Burlington Magazine, May 2018.¹³

Exhibitions

• London, Arthur Tooth & Sons, Amedeo Modigliani, 1938, no. 20.
• Paris, Galerie de France, Modigliani peintures, 1945–46, no. 30.
• New York, Paul Rosenberg & Co., Collectors’ Choice, 1953, no. 26.
• New York, Metropolitan Museum of Art, The Nate and Frances Spingold Collection, 1960.
• Edinburgh, Royal Scottish Academy, and London, Tate Gallery, Modigliani, 1963, no. 45.
• Waltham, Brandeis University, Nate B. and Frances Spingold Collection, 1965.
• Tokyo, National Museum, and Nagoya, Aichi Prefectural Art Gallery, 1985, no. 124.
• Canberra, Australian National Gallery, and Brisbane, Queensland Art Gallery, 20th Century Masters from The Metropolitan Museum of Art, 1986.
• London, Royal Academy of Arts, and Munich, Italian Art in the 20th Century, 1989, no. 64.
• Düsseldorf, Kunstsammlung Nordrhein-Westfalen, and Zurich, Kunsthaus, 1991, no. 88.
• New York, Metropolitan Museum of Art, Painters in Paris: 1895–1950, 2000–01.
• Venice, Fondazione Giorgio Cini, Modigliani e i suoi, 2000, no. 142.
• Kyoto Municipal Museum of Art and Tokyo, Bunkamura Museum of Art, Picasso and the School of Paris, 2002–03, no. 35.
• New York, The Jewish Museum, and Washington, The Phillips Collection, Modigliani: Beyond the Myth, 2004–05.
• London, Royal Academy of Arts, Modigliani and His Models, 2006, no. 38.
• Houston, Museum of Fine Arts, The Masterpieces of French Painting from The Metropolitan Museum of Art, 2007, no. 131.
• Berlin, Neue Nationalgalerie, 2007.
• Bonn, Kunst- und Ausstellungshalle, Amedeo Modigliani: Ein Mythos der Moderne, 2009, no. 117.
• London, Tate Modern, Modigliani, 2017–18.

Notes

Not listed in the D’Atri papers.

The painting was included in the Modigliani Technical Research Study published in The Burlington Magazine in May 2018. Pigments identified include chrome yellow or chrome orange, lead and zinc white, vermilion, ochre, Prussian blue, bone black and emerald green, with barium white and lead white in the ground. The published conclusion is that the palette is short and based on small-scale industrial, rather than artisan, oils.

A small related sketch has been associated with this composition; a Venetian court declared that sketch original. This investigation compares the underdrawing visible in X-radiographs of other late portraits.

The 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.