Léopold Zborowski Seated

Identification

Published titles

English: Léopold Zborowski Seated; Léopold Zborowski.

Date

The museum dates the work 1916–1919. Pfannstiel and Lanthemann give 1918; Ceroni and Parisot give 1919. The museum size, 100 × 65 cm, is kept here.

Medium

Oil on canvas.

Dimensions

100 × 65 cm (museum). Patani and Parisot give 107 × 66 cm; MR gives 100 × 64 cm; Lipchitz gives 105 × 65 cm.

Signature

Signed modigliani at top right.

Present location

Museu de Arte de São Paulo Assis Chateaubriand (inv. MASP.00150). Gift of Euvaldo Lodi, 1950.

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. Bignou Gallery, Paris.
4. Reid & Lefevre, London, 1928–29.
5. De Hauke & Co., New York, 1929 (archive no. 3284; acquired jointly with Reid & Lefevre; sale price recorded as $2,300).
6. Marlborough Gallery, London, 1950.
7. Euvaldo Lodi Collection, Brazil, until 1950.
8. MASP, São Paulo, gift of Euvaldo Lodi, 1950 (inv. MASP.00150).

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.

• Maud Dale, 1929, pl. 3.¹
• Arthur Pfannstiel, 1929 presumed catalogue, p. 43.²
• Jacques Lipchitz, 1954, pl. 26, dated 1917, size 105 × 65 cm.³
• Arthur Pfannstiel, 1956, no. 269, dated 1918, size 102 × 66 cm.⁴
• Ambrogio Ceroni, 1958, no. 144.
• Joseph Lanthemann, 1970, no. 321, dated 1918.⁵
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 310, dated 1919.⁶
• Osvaldo Patani, 1991–94, no. 322, size 107 × 66 cm.⁷
• Christian Parisot, 1991, no. 9/1919.⁸
• MR, Luxembourg 2002, no. 94, pp. 370–371, size 100 × 64 cm.⁹
• Nancy Ireson and Simonetta Fraquelli, Tate Modern, 2017, p. 192, dated 1916–19.¹⁰

Exhibitions

• London, Alex Reid & Lefevre, 1928–29, no. 12.
• Chicago, Arts Club, 1929.
• New York, De Hauke & Co., 1929, no. 23 (Patani cites no. 17 in error), dated 1918.
• Cleveland Museum of Art and Museum of Modern Art, New York, Modigliani–Soutine, 1951.
• Paris, Musée de l’Orangerie, 1953; Brussels, Utrecht, Bern, London Tate, Düsseldorf and Milan, 1954–55.
• New York, Metropolitan Museum of Art, 1957.
• Liège, Musée Saint-Georges, 1980, no. 24.
• Martigny, Fondation Pierre Gianadda, 1990, no. 105.
• Düsseldorf and Zurich, 1991, no. 82.
• Paris, Musée du Luxembourg, 2002, no. 94; Milan, Palazzo Reale, 2003, no. 65.
• New York, Toronto and Washington, Modigliani: Beyond the Myth, 2004–05.
• Brazilian touring exhibition curated by Christian Parisot, 2012.
• London, Tate Modern, 2017–18.

Notes

D’Atri papers no. 150, as Monsieur Zborowski, size 100 × 65 cm, dated Paris 1918, provenance Zborowski–Netter–Bignou, 1929.

This investigation notes an ochre construction line on the nose, later softened by a dotted line, a device used in early portraits and again, more discreetly, in late works.

A comparison photograph records the appearance after cleaning or the removal of varnish.

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.