Identification

Published titles

English: Manuel Humbert.

Date

1916?
Pfannstiel 1956 dates it 1917.

Medium

Oil on canvas.

Dimensions

100.2 × 65.5 cm. Parisot and Pfannstiel: 100 × 65 cm.

Signature

Signed MODIGLIANI at top right, in white.

Present location

National Gallery of Victoria, Melbourne (Felton Bequest, 1948; inv. 1854-4).

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 (in 1928).
2. Netter Collection, Paris (until 1933).
3. Girard, Paris.
4. Bignou, Paris.
5. Reid & Lefevre, London (1930–1948).
6. Felton Bequest, on the advice of A. J. L. McDonnell, 1949.
7. National Gallery of Victoria, Melbourne (inv. 1854-4).

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, p. 21.¹
• Arthur Pfannstiel, 1956, no. 135 (dated 1917).²
• Ambrogio Ceroni, 1958, no. 67.³
• Joseph Lanthemann, 1970, no. 176.⁴
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 136.⁵
• Christian Parisot, 1991, no. 6/1916.⁶
• Osvaldo Patani, 1991–94, no. 137.⁷
• MR, 2002, pp. 252–253.⁸
• Mason Klein, 2004, p. 128, pl. 43, dated 1916.⁹
• Victoria Soto Caba, 2007.¹⁰

Exhibitions

• New York, Dehauke & Co., Paintings by Amedeo Modigliani, 1929, no. 24.
• London, Reid & Lefevre, Paintings by Amedeo Modigliani, 1929, no. 8.
• Venice, Biennale, Mostra retrospettiva di Modigliani, 1930, no. 36.
• Amsterdam, Stedelijk Museum, L’École de Paris, 1932, no. 172.
• Brussels, Palais des Beaux-Arts, 1933, no. 37.
• Basel, Kunsthalle, 1934, no. 29.
• London, Reid & Lefevre, Modern French Classics, 1935, no. 6; The Tragic Painters, 1938, no. 6.
• Glasgow, 1937, no. 37; Montreal, 1937, no. 31.
• New York, Museum of Modern Art, 20th Century Portraits, 1942.
• New York, Sydney and Melbourne, Modern Masters, Manet to Matisse, 1975.
• Denver, Fort Worth, Cincinnati and Portland, European Masterpieces from the NGV, 2001.
• Paris, Musée du Luxembourg, 2002, no. 52; Milan, Palazzo Reale, 2003, no. 36.
• New York, Toronto and Washington, Modigliani: Beyond the Myth, 2004–2005.
• Tokyo and Osaka, Modigliani et le primitivisme, 2008, no. 30.
• Seoul, Hangaram Museum, Amedeo Modigliani: Legend of Montparnasse, 2015.

Notes

D’Atri papers no. 37. This investigation notes that the bust version is not mentioned there.

This investigation records a drawn ear painted over the colour.

This investigation records holes at the corners of the support. The holes are recorded as half covered by later restoration.

This investigation records a 2017–18 cleaning and restoration at the National Gallery of Victoria by Dr Raye Collins, and publishes process photographs. A thick oxidised varnish layer is recorded as having been removed. Those observations are reported as published; no conservation judgement is added here.

A second portrait of the same sitter is recorded in the Bruce and Robbi Toll Collection (1916-w-52).

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.