Identification

Published titles

English: Woman with a necklace (Lolotte); Lady with a necklace; Lolotte; Young girl with a long necklace; Woman with a necklace.

Date

1916–1917–1918?
Pfannstiel 1956 dates it 1917
Ceroni 1970 dates it 1916.

Medium

Oil on canvas.

Dimensions

91.5 × 60.8 cm.

Signature

Signed modigliani at top right (this investigation prints the reading “modigliani?o”).

Present location

Private collection, recorded with a query. Earlier literature locates it at the Art Institute of Chicago (Worcester loan).

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. Zamaron Collection, Paris.
3. Reid Gallery, Glasgow.
4. Alex Reid & Lefevre, London.
5. Stephen C. Clark Collection, New York (1928).
6. Alex Reid & Lefevre, London / M. Knoedler & Co., Chicago (1929–1931).
7. Charles H. Worcester Collection, Chicago, 1931.
8. Loan to the Art Institute of Chicago.
9. Thereafter unpublished.

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.

• Waldemar George, Modigliani, l’amour de l’art, Paris, 1925.
• André Salmon, 1926, pl. 5.
• Giovanni Scheiwiller, Arte moderna italiana no. 8, Milan, 1927.
• Arthur Pfannstiel, 1929, p. 27.¹
• Arthur Pfannstiel, 1956, no. 171 (dated 1917; Art Institute of Chicago).²
• Joseph Lanthemann, 1970, no. 285.³
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 140 (dated 1916; Chicago).⁴
• Sam Hunter, 20th Century Painting, New York, Abbeville, 1980, cover and p. 112.
• Alain Blondel, Modigliani, vol. 1, VisiMuZ, no. 150.

Exhibitions

• New York, M. Knoedler & Co., A Century of French Painting, 1929, no. 46 and no. 3, as Femme au collier.
• Chicago, M. Knoedler & Co., French Painting from the 19th Century to the Present Day, 1930, no. 23.
• Chicago, M. Knoedler & Co., A Century of French Painting, 1931, no. 19.
• Cleveland Museum of Art, 20th Anniversary Exhibition, 1936.
• Great Lakes Exposition, official art exhibit, no. 330.
• Toledo Museum of Art, Contemporary Movement in European Painting, 1938, no. 77.
• New York, Museum of Modern Art, 20th Century Portraits, 1942, p. 69.
• Chicago, The Arts Club, Amedeo Modigliani, 1959.
• Boston, Museum of Fine Arts, Modigliani: Paintings and Drawings, 1961, no. 21.
• Los Angeles County Museum, same exhibition, 1961, no. 21.
• Edinburgh, Royal Scottish Academy, Modigliani, 1963, no. 28.
• London, Tate Gallery, Modigliani, 1963, no. 28.
• Tokyo, National Museum, Modigliani, 1985, no. 81.
• Nagoya, Aichi Prefectural Art Gallery, 1985, no. 81.

Notes

This investigation marks the work as not located in the D’Atri papers.

This investigation records a 2007 cleaning at the Art Institute of Chicago by Faye Wrubel and publishes comparative photographs. A yellow varnish layer is recorded as having been removed. This investigation notes that the necklace colour, a painted-out chair and a green-blue shadow on the back became visible. Those observations are reported as published; no conservation judgement is added here.

Pfannstiel mentions a 1951 Museum of Modern Art retrospective; this investigation notes that the work is not in that catalogue.

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.