The red bean

Identification

Published titles

English: Red-haired woman / The red bean / Red-haired woman with blue eyes.
French: Le Haricot rouge / La Môme.

Date

1917. Pfannstiel 1956 dated no. 264 to Nice, 1918. Lanthemann: 1916.

Medium

Oil on canvas.

Dimensions

55.2 × 45.7 cm. Ceroni, Parisot and Patani: 55 × 45 cm. Pfannstiel: 55 × 44 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. Alex Reid & Lefevre, London (1929).
2. De Hauke & Co., New York, no. 3313 (half share with Reid & Lefevre; returned 6 June 1929).
3. Alex Reid & Lefevre, London (back in 1929).
4. Conger Goodyear Collection, Buffalo (1930s).
5. George Gershwin, Los Angeles.
6. Perls Gallery, Beverly Hills.
7. Mr and Mrs Peter A. Rubel, Connecticut or New York?
8. Galerie Za (V. Raykis), Paris?
9. Perls Galleries, New York.
10. Mr and Mrs Arnold Askin (acquired from Perls, 1965).
11. 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.

• Chester Dale, 1929, pl. 11.¹
• Arthur Pfannstiel, 1929, p. 42; 1956, no. 264 (Nice, 1918).²
• Ambrogio Ceroni, 1965, no. 180.³
• Joseph Lanthemann and Christian Parisot, 1978, p. 56.⁴
• Joseph Lanthemann, 1970, no. 132 (dated 1916).⁵
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 175 (dated 1917).⁶
• Christian Parisot, 1991, no. 16/1917.⁷
• Osvaldo Patani, 1991–94, no. 181 (dated 1917).⁸
• Victoria Soto Caba, 2007.⁹

Exhibitions

• Brussels, Palais des Beaux-Arts, 1933, no. 66; Basel, Kunsthalle, 1934.
• New York, Perls Galleries, Group of Paintings in the Collection of Peter and Elizabeth Rubel, 1957, no. 25.
• Wolfsburg, Stadthalle, 1961, no. 102.
• New York, Perls Galleries, 1963, no. 14.
• New York, Acquavella Galleries, 1971, no. 14 (dated 1917; Askin Collection).

Notes

Mentioned in the D’Atri papers as no. 66 following the Brussels 1933 guide, but with the description and provenance of a standing nude.

This investigation records changes consistent with a cleaning; no independent conservation report is cited.

This investigation records that no good colour reproduction of the painting had been seen.

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