Jeanne Hébuterne seated, arm on the chair

Identification

Published titles

English: Jeanne Hébuterne seated, arm on the chair; Jeanne Hébuterne seated, arm on the back of the chair; The red dress; The wife of the artist.

Date

1918, unconfirmed. Lanthemann dates the canvas 1919.

Medium

Oil on canvas.

Dimensions

101 × 65.7 cm. Pfannstiel, Ceroni and Patani: 100 × 65 cm.

Signature

Signed modigliani at top right.

Present location

Norton Simon Museum, Pasadena, California, inv. M.1975.13.2.P, as Jeanne Hébuterne, 1918. The museum gives 101 × 65.7 cm, which matches the figure used here.

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. Galerie Bing et Cie, Paris (1925).
3. Marcel Bernheim Collection, Paris? (Pfannstiel).
4. Paul Guillaume, Paris (before 1929).
5. De Hauke & Co., New York (1929).
6. Lucien Demotte, New York (1931).
7. Bernard J. Reis Collection, New York (1935–1965).
8. Marlborough-Gerson Gallery, New York (acquired 1965).
9. Norton Simon Collection, Los Angeles (1965–1970).
10. Lucille Simon Collection, Los Angeles (divorce settlement, 1970–1975).
11. Paul Rosenberg & Co., New York (stock no. 6478).
12. Norton Simon Art Foundation, acquired 14 August 1975.
13. Norton Simon Museum, Pasadena, inv. M.1975.13.2.P.

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, L’amour de l’art, Paris, 1925, p. 386.
• Arthur Pfannstiel, 1929 presumed catalogue, p. 50.¹
• James Thrall Soby, exhibition catalogue, Cleveland / Museum of Modern Art, 1951, p. 52.
• Arthur Pfannstiel, 1956, no. 325, as Mme Hébuterne, dated 1918 (this investigation prints no. 303).²
• Ambrogio Ceroni, 1958, no. 155.³
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 219, dated 1918.⁴
• Joseph Lanthemann, 1970, no. 355, dated 1919.⁵
• Werner Schmalenbach, 1990, no. 78.⁶
• Osvaldo Patani, 1991–94, no. 228, dated 1918.⁷
• Christian Parisot, 1991, no. 2/1918.⁸
• Anikó Bezur et al., The Burlington Magazine, May 2018, p. 406, pl. 11.⁹

Exhibitions

• Paris, Galerie Bing et Cie, Modigliani, 1925, no. 19.
• Chicago, Arts Club, Paintings by Amedeo Modigliani, 1929.
• New York, De Hauke & Co., Paintings by Amedeo Modigliani, 1929, no. 31, as The red dress.
• New York, Demotte, Amedeo Modigliani, 1931.
• Cleveland Museum of Art / Museum of Modern Art, New York, Modigliani–Soutine, 1951.
• Boston, Museum of Fine Arts, Modigliani: Paintings and Drawings, 1961, no. 36.
• Los Angeles County Museum, same exhibition, 1961, no. 36.
• Düsseldorf, Kunstsammlung Nordrhein-Westfalen, 1991, no. 62.
• Zurich, Kunsthaus, 1991, no. 62.

Notes

D’Atri papers no. 221, as Portrait of Jeanne Hébuterne, 100 × 65 cm, dated Nice 1918, provenance Bernheim 1928; repeated as no. 179, La robe rouge, dated 1916, Lucien Demotte, New York, 1931.

This investigation records holes at the corners of the canvas.

This investigation records a drawn ear painted over the colour.

The 2018 Burlington technical study of late portraits includes this canvas.

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