Identification

Published titles

English: Léon Indenbaum.

Date

1916?
MR dates it 1915
Ceroni 1970 dates it 1915
Lanthemann dates it 1917

Medium

Oil on canvas.

Dimensions

54.6 × 45.7 cm. Pfannstiel: 55 × 46 cm. Ceroni: 55 × 45 cm.

Signature

Signed MODIGLIANI at bottom right, with the inscription IMDE BAUM at the top (this investigation notes an M or reversed N in a mix of white and black).

Present location

Princeton University Art Museum (inv. L.1988.62.19). Henry and Rose Pearlman Foundation loan since 1988.

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. Léon Indenbaum, acquired 1916.
2. Georges Chéron Gallery, Paris (c. 1916).
3. Sale, Hôtel Drouot, July 1937.
4. Galerie Zak, Paris.
5. Henry and Rose Pearlman Collection (1949).
6. Henry and Rose Pearlman Foundation, 1974–75.
7. Loan to Princeton University Art Museum since 1988 (inv. L.1988.62.19).

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.

• James Thrall Soby, Museum of Modern Art exhibition catalogue, 1951, p. 34.
• Arthur Pfannstiel, 1956, no. 113.¹
• Joseph Lanthemann, 1970, no. 191 in that volume as printed in the bibliography assembled for this investigation, dated 1917.²
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 91, dated 1915.³
• Osvaldo Patani, 1991–94, no. 94.⁴
• MR, 2002, pp. 222–223 (dated 1915).⁵
• Mason Klein, 2004, p. 118, pl. 33.⁶
• Nancy Ireson and Simonetta Fraquelli, 2017, p. 109.⁷
• Victoria Soto Caba, 2007.⁸

Exhibitions

• Cleveland Museum of Art and New York, Museum of Modern Art, Modigliani, 1951.
• New York, Knoedler, Collection of Mr and Mrs Henry Pearlman, 1959.
• Cincinnati, The Contemporary Arts Center, 1959, no. 10.
• Edinburgh and London, 1963, no. 22.
• New York, Acquavella Galleries, 1971, no. 9.
• New York, The Jewish Museum, The Circle of Montparnasse, 1985, no. 72.
• Tokyo, Kyoto, Osaka and Ibaraki, 1992–93, no. 15.
• Lugano, Museo d’Arte Moderna, 1999, no. 19.
• Paris, Musée du Luxembourg, 2002, no. 39; Milan, Palazzo Reale, 2003, no. 30.
• New York, Toronto and Washington, Modigliani: Beyond the Myth, 2004–2005.
• London, Tate Modern, 2017–18.

Notes

D’Atri papers: not located, recorded with a query.

This investigation records a drawn ear painted over the colour.

Published X-radiographs show an underlying composition. The museum, following a Pearlman account of a recollection by Indenbaum, describes a still life. This investigation reproduces processed readings of the radiograph and records alternative descriptions (bottle and table; a possible genre scene). Those readings are reported as published; no further identification is added here.

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