Woman portrait
Oil on cardboard — 1915
Identification
- Title
- English: Woman portrait; Beatrice Hastings hand on breast.
- Date
- 1915
- Medium
- Oil on cardboard
- Dimensions
- 75 x 52.4 cm ?
- Signature
- Signed "modigliani" in lower right
- Present location
- Fitzwilliam Museum, Cambridge, U.K. (Inv. no. PD.29-1998)
Catalogue numbers
| Compiler | Number |
|---|---|
| Arthur Pfannstiel | NO |
| Joseph Lanthemann | NO |
| Ambrogio Ceroni | ? |
| Jeanne Modigliani | ? |
| Christian Parisot | YES |
| Osvaldo Patani | ? |
| Modigliani Project | ? |
| MR | ? |
| Modigliani Initiative | ? |
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
- Paul Guillaume
- Alfred Poyet
- Sir Michael Sadler
- Mrs Oliver Parker / T.O. Parker
- Fitzwilliam Museum, Cambridge Inv. no. PD.29-1998
- Loan to the Fitzwilliam Museum since 1983
- Accepted in lieu of Inheritance Tax by H.M. Government. in 1998.
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.
- Probably no. 47 in Pfannstiel ?
Exhibitions
- Seoul, Amadeo Modigliani: Legend of Montparnasse, Hangaram Museum of Seoul Art Center, 2015
Notes
Text in the museum entry:
Subject formerly identified as Beatrice Hasting, although the features bear little resemblance with other portraits of her by Modigliani;
the portrait shows the influence of the stone sculpture and caryatid drawings which he was executing around 1911-12, while the
expressionless gaze has the haunting effect of the African masks which influenced his work around this time.
Where sources disagree, both readings are given. This is a working research page, not a catalogue raisonné.
