Woman portrait (Marie Laurencin?)

Identification

Published titles

English: Woman portrait.

Date

1917? This investigation also records 1917–18. Lanthemann dates the work 1919. Tokyo 2008 (MR) dated it 1917.

Medium

Oil on canvas.

Dimensions

61 × 38 cm?

Signature

Signed modigliani at top right.

Present location

Private collection?

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. Private collection.
3. Galerie Bing, Paris.
4. William D. Vogel, Milwaukee, 1950.
5. Grace Vogel Aldworth, Santa Fe.
6. Private collection.
7. Sale, Bonhams, London, 21 June 2011, sale 18861, lot 23 (sold GBP 1,812,000). The sale note recorded that the work would be included in the catalogue raisonné then in preparation by MR under the sponsorship of the Wildenstein Institute.
8. Private collection?

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.

• Yvon Taillandier, “Modigliani,” Connaissance des Arts, 15 April 1955, p. 65.
• Joseph Lanthemann, 1970, no. 221 (dated 1919).¹

Exhibitions

• Tokyo, The National Art Center, Modigliani et le primitivisme, 2008, no. 36, curated by MR, dated 1917 as Marie Laurencin; Osaka, same exhibition.

Notes

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

Published documentation for this file is thin. Catalogue numbers, exhibitions and bibliography are given only where the source recorded them. Ceroni, Parisot and Patani do not list the painting in the source table.

The identification of the sitter as Marie Laurencin is MR’s published title for the 2008 Tokyo/Osaka exhibition.

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