Identification

Published titles

English: Tree and houses / Landscape of the Midi / Landscape of Cagnes / Cagnes-sur-Mer.

Date

1919 in Ceroni, Parisot and MR. Pfannstiel and Lanthemann date the canvas 1918.

Medium

Oil on canvas.

Dimensions

Published sizes disagree. Pfannstiel, D’Atri, Lanthemann, Ceroni, Patani, Parisot and Decrooq (Lugano 1999) give 55 × 46 cm. MR and Decrooq (Paris 2002) give 57 × 45 cm.

Signature

Signed modigliani at bottom left. This investigation records a double signature.

Present location

Netter collection (and subsequent inheritance, recorded as a private collection, Paris).

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. Jonas Netter Collection, Paris.
3. Private collection, Paris (Netter inheritance).

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.

• Arthur Pfannstiel, 1929 presumed catalogue, p. 39.¹
• Arthur Pfannstiel, 1956, no. 245, as Landscape of the Midi, dated 1918.²
• Ambrogio Ceroni, 1958, no. 99.³
• Jacques Lipchitz, 1954, pl. 63.⁴
• Joseph Lanthemann, 1970, no. 366, as Landscape of Cagnes, dated 1918.⁵
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 290, as Tree and houses, dated 1919.⁶
• Osvaldo Patani, 1991–94, no. 302.⁷
• Christian Parisot, 1991, no. 7/1919.⁸
• R. Chiappini, ed., Lugano 1999, no. 64 (catalogue entry by Decrooq; size 55 × 46 cm).
• MR, Luxembourg 2002, no. 84, size 57 × 45 cm.⁹
• MR, Le Silence éternel, 2008, p. 137, size 57 × 45 cm.¹⁰

Exhibitions

• Venice, XVII Biennale, Sala XII, retrospective curated by Lionello Venturi, 1930, no. 18.
• Brussels, Palais des Beaux-Arts, 1933, no. 16.
• Basel, Kunsthalle, 1934, no. 8.
• Paris, Musée National d’Art Moderne, 1950.
• Paris, Galerie Charpentier, Cent tableaux de Modigliani, 1958, no. 84, dated 1918.
• Marseille, Musée Cantini, 1958, no. 29.
• Liège, Musée Saint-Georges, 1980, no. 42.
• Paris, Musée d’Art Moderne de la Ville de Paris, 1981, no. 79.
• Lausanne, Fondation de l’Hermitage, Les peintres de Zborowski, 1994, no. 22.
• Lugano, Museo d’Arte Moderna, 1999, no. 64.
• Paris, Musée du Luxembourg, L’ange au visage grave, 2002, no. 84.

Notes

D’Atri papers no. 16, as Landscape, 55 × 46 cm, Netter Collection.

This investigation notes a double signature at bottom left.

In thinly painted areas a squared pencil underdrawing is visible. This investigation records this as unusual in Modigliani’s painted oeuvre and leaves open whether the squaring relates to a photograph or to a veduta method.

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.