Beatrice Hastings seated in front of the fireplace

Identification

Title

Beatrice Hastings seated in front of the fireplace / Donna davanti al caminetto.

Date

1915?

Medium

Oil on canvas.

Dimensions

80.5 × 64.5 cm, recorded with a query. Klein and MR: 81 × 65 cm.

Signature

Signed Modigliani at top left.

Present location

VAC Foundation, Moscow, recorded with a query.

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. Paul Guillaume, Paris (recorded with a query).
2. Georges Chéron, Paris (recorded with a query).
3. M. Louis Libaude Collection, Paris.
4. Hôtel Drouot, Paris, Libaude Collection, 19 May 1920, lot 64.
5. Netter Collection, Paris (by 1956, recorded with a query).
6. Perls Galleries, New York.
7. Private collection (by 1972).
8. Christie’s, New York, Impressionist and Modern Paintings and Sculpture, Part I, 7 November 1995, sale 8306, lot 33 (estimate USD 900,000–1,200,000; sold USD 1,487,500).
9. Helly Nahmad Collection / private collection (recorded with a query).
10. VAC Foundation, Moscow.

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. 16.¹
• Arthur Pfannstiel, 1956, no. 102.²
• Joseph Lanthemann, 1970, no. 77.³
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 58.⁴
• Osvaldo Patani, 1991, no. 63.⁵
• Raffaele Monti, ed. R. Chiappini, Amedeo Modigliani, Lugano, Skira, 1999.⁶
• Mason Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004, p. 84, pl. 8 (courtesy of Helly Nahmad).⁷
• Simonetta Fraquelli et al., Modigliani and His Models, Royal Academy of Arts, London, 2006, p. 84, no. 8.⁸
• Victoria Soto Caba, 2007.⁹

Exhibitions

• New York, Acquavella Galleries, Amedeo Modigliani, 1971, no. 11.
• Lugano, Museo d’Arte Moderna, Amedeo Modigliani, 1999, no. 20.
• New York, The Jewish Museum, Modigliani: Beyond the Myth, 2004–2005, no. 8.
• Toronto, Art Gallery of Ontario, Modigliani: Beyond the Myth, 2004–2005, no. 8.
• Washington, D.C., The Phillips Collection, Modigliani: Beyond the Myth, 2005, no. 8.
• London, Royal Academy of Arts, Modigliani and His Models, 2006, no. 8 (private collection, courtesy of Helly Nahmad).
• Moscow, Museum of Modern Art, General Rehearsal, VAC Collection, 2018.

Notes

This investigation marks the D’Atri papers entry with a query.

This investigation publishes a detail of the signature in normal light, and a detail of the ears described as drawn in colour and black over the underlying paint.

This investigation publishes an installation photograph of the framed work at the 2018 Moscow exhibition.

This investigation records that technical study of the Tate Gallery painting known as Victoria showed, in X-ray, another composition beneath the present surface, described as almost identical in pose, scale and perspective to this 1915 Beatrice Hastings before the fireplace. The observation is given as published in the documentation assembled for this investigation.

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