Hanka Zborowska with a white collar

Identification

Published titles

English: Hanka Zborowska with a white collar; Anna Zborowska.
French: La collerette; Femme à la collerette.

Date

1917. Lanthemann dates the work 1918; several 1930–33 exhibition catalogues also used 1918.

Medium

Oil on canvas.

Dimensions

55 × 38 cm? The 1958 Milan exhibition listed 55 × 35 cm.

Signature

Signed modigliani at top left; the word ANNA at top right.

Present location

Galleria Nazionale d’Arte Moderna, Rome, inv. 00491016 / 4731. Acquired from Galerie Kaganovitch, 1953.

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 (recorded 1929).
2. Michaux Collection, Paris (Venice Biennale 1930).
3. Khoury Collection, Paris (Brussels retrospective 1933).
4. Kaganovitch Collection / Galerie Kaganovitch, Zurich and Paris (recorded 1951?).
5. Galleria Nazionale d’Arte Moderna, Rome, acquired 1953 from Galerie Kaganovitch.

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.

• Maurice de Vlaminck, “L’art vivant,” 1 November 1925.
• Arthur Pfannstiel, 1929, p. 22; 1956, no. 138.¹
• Ambrogio Ceroni, 1958, no. 134.²
• Joseph Lanthemann, 1970, no. 198 (dated 1918).³
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 160.⁴
• Christian Parisot, 1991, no. 1/1917.⁵
• Osvaldo Patani, 1991–94, no. 164.⁶
• MR, 2002, pp. 290–91.⁷
• Mason Klein, 2004, p. 131, pl. 46.⁸
• Simonetta Fraquelli, 2006, p. 111, no. 28.⁹

Exhibitions

• Venice, Biennale, retrospective curated by Lionello Venturi, 1930, no. 25 (Michaux, Paris).
• Paris, Galerie Marcel Bernheim, 1931, no. 17 (Michaux; dated 1918).
• Brussels, Palais des Beaux-Arts, 1933, no. 49 (Khoury; dated 1918); Basel, 1934, no. 41.
• Paris, Galerie Kaganovitch, 1951; Rome, VI Quadriennale, 1952.
• Milan, Palazzo Reale, 1958, no. 31; Rome, GNAM, 1959, no. 24.
• Paris, Musée d’Art Moderne de la Ville de Paris, 1981, no. 94.
• Düsseldorf and Zurich, 1991, no. 48.
• Lugano, 1999, no. 37; Paris, Musée du Luxembourg, 2002, no. 58; Milan, 2003, no. 41.
• New York, Toronto and Washington, 2004–05; London, Royal Academy, 2006, no. 28.
• Padua, Da Canova a Modigliani, 2010–11; Turin, Modigliani e la Bohème di Parigi, 2015.

Notes

D’Atri papers no. 49, oil on canvas, dated 1917.

This investigation records a drawn ear painted over the colour.

Infrared image published in this investigation shows the drawn contour.

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