Jeanne Hébuterne seated in profile, white dress

Identification

Published titles

English: Jeanne Hébuterne seated in profile, white dress; Jeanne Hébuterne seated in profile in a white dress; Jeanne Hébuterne in white.

Date

1918, unconfirmed. Lanthemann dates the canvas 1919.

Medium

Oil on canvas.

Dimensions

99.7 × 64.8 cm.

Signature

Signed modigliani at bottom right.

Present location

Barnes Foundation, Philadelphia, Pennsylvania, inv. BF422, as Portrait of Jeanne Hébuterne, 1918. The museum gives 99.7 × 64.8 cm, which matches the figure used here.

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. Paul Guillaume, Paris.
3. Sold by Guillaume to Albert C. Barnes, probably June or July 1923 (Barnes collection record).
4. Barnes Foundation, Philadelphia, inv. BF422.

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.

• Ambrogio Ceroni, 1958, no. 116.¹
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 261, dated 1918, as Hébuterne seated in profile with white dress.²
• Joseph Lanthemann, 1970, no. 360, dated 1919.³
• James Johnson Sweeney, The Barnes Foundation Journal of the Art Department 3, no. 2 (Autumn 1972), pl. 16.
• Christian Parisot, 1991, no. 42/1918; this investigation records a mix of exhibitions and owners with the related black-and-red canvas.⁴
• Richard J. Wattenmaker and Anne Distel, Great French Paintings from The Barnes Foundation, New York, Knopf, 1993, fig. 8.
• Judith F. Dolkart, Martha Lucy and Derek Gillman, The Barnes Foundation: Masterworks, New York, Skira Rizzoli, 2012, pp. 296–297, 309, 315.

Exhibitions

• Philadelphia, Pennsylvania Academy of the Fine Arts, Contemporary European Paintings and Sculpture, 1923.
• This investigation records that the canvas has not left the Barnes premises since the 1920s.

Notes

This investigation does not record an entry in the D’Atri papers.

This investigation records holes at the corners of the canvas.

This investigation records a drawn ear painted over the colour.

This investigation records a closely related seated profile in a black and red dress (Netter Collection, this series w-45). Parisot no. 42/1918 is recorded as mixing the two canvases.

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