Identification

Published titles

English: Hanka Zborowska Seated; Hanka Zborowska with Clasped Hands; Madame Hanka Zborowska.
French: La Zborowska.

Sitter

Anna (Hanka) Zborowska, wife of Léopold Zborowski.

Date

Dated 1919.

Medium

Oil on canvas. A 1981 laboratory note describes a fine, closely woven cotton canvas.

Dimensions

100 × 65 cm. The Tate 2017 exhibition is cited as 100 × 65 cm or 100 × 63 cm.

Signature

Signed modigliani at top right.

Present location

Private collection. Earlier Dutilleul ownership is recorded; the present owner is not named.

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. Ownership before Zborowski is not documented.
2. Léopold Zborowski, Paris.
3. Roger Dutilleul Collection, Paris.
4. Unrecorded interval.
5. Private 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.

• Jacques Lassaigne, Cent chefs-d’œuvre des peintres de l’École de Paris, Galerie Charpentier, Paris, 1947, p. 122.
• Giovanni Scheiwiller, Hoepli, 1950, pl. 33.¹
• Claude Roy, Skira, 1958, p. 107.²
• Ambrogio Ceroni, 1958, no. 149.³
• Gaston Diehl, Flammarion, 1969, p. 86; 1977, p. 86.⁴
• Joseph Lanthemann, 1970, no. 396.⁵
• Ambrogio Ceroni, Rizzoli 1970 and French 1972, no. 314.⁶
• Carol Mann, 1980, p. 190, no. 139.⁷
• Musée d’Art moderne de la Ville de Paris, 1981, pp. 38–41, 160.
• Christian Parisot, 1991, no. 22/1919.⁸
• Osvaldo Patani, 1991–94, no. 326.⁹
• Nancy Ireson and Simonetta Fraquelli, Tate / Skira Rizzoli, 2017, p. 191.¹⁰

Exhibitions

• Venice, Biennale, 1930, no. 20.
• Paris, Musée du Jeu de Paume, loan, 1933.
• Paris, Galerie de France, 1945–46, no. 35.
• Paris, Galerie Charpentier, 1946 and 1958, no. 99.
• Paris, Musée d’Art moderne de la Ville de Paris, 1981, no. 87.
• London, Tate Modern, 2017–2018.

Notes

Not listed in the D’Atri papers.

Suzy Delburgo and Lola Failant-Dumas, in the Paris 1981 catalogue (pp. 20–47), compared this portrait with Woman with a Fan. Both are described as painted on fine cotton canvas (about 36 × 34 threads per cm²) with irregular commercial lead-white grounds that appear to come from the same bolt. The drawing is characterised as a single, secure outline; the paint layer is thin and low in lead white. They judged this portrait more fully worked than Woman with a Fan. The translation above is a cleaned English rendering of this investigation’s extract, not a new laboratory report.

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