Identification

Published titles

English: Nude (Courtauld); Nude.

Date

1916?

Medium

Oil on canvas.

Dimensions

92.4 × 59.8 cm.

Signature

Signed modigliani at top left.

Present location

Courtauld Institute of Art, London (gift of Samuel Courtauld, 1932; P.1932.SC.271).

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. C. Zamaron Collection, Paris (in 1927).
3. Samuel Courtauld Collection, London (until 1932).
4. Courtauld Institute of Art, London (gift of Samuel Courtauld, 1932; P.1932.SC.271).

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.

• Francis Carco, Le nu dans la peinture moderne, 1924, pl. 18.
• Carl Einstein, Die Kunst des 20. Jahrhunderts, Berlin, 1926, pl. 234 (Zamaron Collection).
• Arthur Pfannstiel, 1929, no. 3, p. 22.¹
• Arthur Pfannstiel, 1956, no. 140.²
• Ambrogio Ceroni, 1958, no. 29.³
• Joseph Lanthemann, 1970, no. 160.⁴
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 127.⁵
• Werner Schmalenbach, 1990, pl. 56, p. 107, no. 56, dated 1916.⁶
• Christian Parisot, 1991, no. 14/1916.⁷
• Osvaldo Patani, 1991–94, no. 145.⁸
• Mason Klein, 2004, pl. 16, p. 18.⁹
• Simonetta Fraquelli, 2006, pp. 90–91, no. 14.¹⁰
• King, Ireson, Fraquelli and Townsend, The Burlington Magazine, 2018.¹¹
• Burnstock, Duvernois and Stringari, The Burlington Magazine, 2018.

Exhibitions

• Paris, Berthe Weill Gallery, Modigliani, 1917 (number unpublished).
• Brussels, Palais des Beaux-Arts, 1933, no. 22.
• Basel, Kunsthalle, 1934.
• Paris, Musée de l’Orangerie, The Impressionists, 1955, no. 31.
• Marseille, Musée Cantini, 1958, no. 18.
• Liège, Musée Saint-Georges, 1980, no. 7.
• London, Royal Academy of Arts, Italian Art in the 20th Century, 1989, no. 62.
• Düsseldorf and Zurich, 1991, no. 39.
• London, Royal Academy of Arts, Modigliani and His Models, 2006, no. 14.
• Bonn, Amedeo Modigliani: Ein Mythos der Moderne, 2009, no. 74 (dated c. 1916).
• London, Tate, Modigliani, 2017.

Notes

D’Atri papers no. 22.

This investigation records holes at the corners of the support.

This investigation records a contour line around the figure, painted with a diluted dark mixture, and black lines along the four borders. It records that the canvas was worked unstretched, with the lines used to mark the stretcher size.

Published X-radiographs show lead-white rich passages and directional brushwork not fully visible on the surface. Those laboratory observations are those of the 2018 Burlington Magazine technical study, reported as published facts.

This investigation publishes comparative photographs of appearance before and after cleaning.

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.