Identification

Published titles

English: Jeanne Hébuterne with a large hat; Jeanne Hébuterne with a straw hat.
French: La femme au grand chapeau.

Date

1917. MR dates the work 1918. Pfannstiel 1929 and 1956 and Lanthemann date it 1919.

Medium

Oil on canvas?

Dimensions

55 × 37.5 cm? Pfannstiel: 55 × 33 cm. MR, Ceroni, Patani and Parisot: 55 × 38 cm.

Signature

Signed modigliani at top right. Reverse not recorded as seen. Parisot records a certification by Moïse Kisling dated Paris, 1 June 1931, on the reverse.

Present location

Private collection, Japan?

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. Sale, Hôtel Drouot, Paris, 26 February 1932, lot 89.
3. Reiffers Collection, Luxembourg (by 1933?).
4. Sale, Galerie Charpentier, Paris, 14 May 1935, lot 7 (55 × 38 cm; titled La femme au grand chapeau).
5. Netter Collection, Paris.
6. Sale, Galerie Charpentier, Paris, 30 March 1954, lot 33.
7. Private collection, Zurich? Lehman Collection, New York; lent to the Metropolitan Museum of Art until 1990.
8. Inheritance by Robert Owen Lehman.
9. Sale, Christie’s, New York, Impressionist and Modern Paintings and Sculpture (Part I), 15 May 1990, lot 29 (sold USD 8,250,000).
10. Private collection, Japan?

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. 53 (dated 1919).¹
• Arthur Pfannstiel, 1956, no. 335 (dated 1919; 55 × 33 cm).²
• Ambrogio Ceroni, 1958, no. 89.³
• Jeanne Modigliani, 1958 / 1961, no. 57.⁴
• Joseph Lanthemann, 1970, no. 338 (dated 1919).⁵
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 180 (dated 1917).⁶
• Werner Schmalenbach, 1990, p. 121, no. 70 (dated 1917).⁷
• Christian Parisot, 1991, no. 28/1917.⁸
• Osvaldo Patani, 1991–94, no. 187 (dated 1917).⁹
• MR, 2002, pp. 340–341 (dated 1918).¹⁰

Exhibitions

• Brussels, Palais des Beaux-Arts, 1933, no. 82 (Reiffers Collection, Luxembourg).
• Basel, Kunsthalle, 1934.
• New York, Metropolitan Museum of Art, Lehman collection (to 1990).
• Düsseldorf and Zurich, 1991, no. 52.
• Paris, Musée du Luxembourg, 2002, no. 81; Milan, Palazzo Reale, 2003, no. 57.
• Tokyo, Modigliani et Hébuterne, le couple tragique, 2007.
• Goyang, Aram and Harmony Art Museum, 2008.

Notes

D’Atri papers no. 82, Madame Hébuterne, undated; Reiffers Collection, Luxembourg, 1933.

This investigation records holes at the corners of the support. Holes on the four sides are recorded as half covered by restoration or cleaning.

Parisot records a certification by Moïse Kisling dated Paris, 1 June 1931, on the reverse.

This investigation records a drawn ear painted over the colour.

This investigation reproduces the painting before and after a published cleaning.

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