Identification

Published titles

English: Marie / Little Marie / Girl with a scarf. French: Marie, fille du peuple.

Date

1918. MR dates the canvas 1917–18.

Medium

Oil on canvas.

Dimensions

61.2 × 49.8 cm. Published alternatives: Pfannstiel 61 × 50; Ceroni 60 × 50; Patani and Parisot 62 × 50.5; Wayne 62 × 50.

Signature

Signed modigliani at top right.

Present location

Kunstmuseum Basel (inv. G 1975.8), bequest of Dr Walther Hanhart, Riehen, 1975.

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. Dr Sabouraud Collection, Paris.
3. Galerie Raeber, Basel.
4. Dr Walter Hanhart Collection, Riehen.
5. Kunstmuseum Basel, bequest of Dr Walther Hanhart, 1975.

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.

• André Salmon, 1926, pl. 29.¹
• Arthur Pfannstiel, 1929 presumed catalogue, p. 37.²
• Arthur Pfannstiel, 1956, no. 240, dated 1918.³
• Ambrogio Ceroni, 1958, no. 97.⁴
• Joseph Lanthemann, 1970, no. 315, as Girl with a scarf (named Marie), dated 1918.⁵
• Ambrogio Ceroni and Leone Piccioni, 1970, no. 253, dated 1918.⁶
• Christian Parisot, 1991, no. 22/1918.⁷
• Osvaldo Patani, 1991–94, no. 266, dated 1918.⁸
• Kenneth Wayne, 2002, p. 105, no. 28, as Marie, daughter of the people, dated 1918.⁹
• Simonetta Fraquelli, 2006, p. 118, no. 34.¹⁰
• Nancy Ireson and Simonetta Fraquelli, Tate Modern, 2017, p. 157.¹¹

Exhibitions

• Paris, Galerie Bing et Cie, 1925, no. 14, as Little Marie.
• Zurich, Kunsthaus, Italienische Maler, 1927, no. 105.
• Venice Biennale, Venturi retrospective, 1930, no. 28.
• Brussels, Palais des Beaux-Arts, 1933, no. 59.
• Basel, Kunsthalle, 1934, no. 51.
• Vevey, Musée de Vevey, Utrillo, Modigliani, Valadon, 1955, no. 62.
• Paris, Galerie Charpentier, 1958, no. 77.
• Paris, Musée d’Art Moderne de la Ville de Paris, 1981, no. 61.
• Tokyo and Nagoya, 1985, no. 96.
• Düsseldorf and Zurich, 1991, no. 70.
• Buffalo, Fort Worth and Los Angeles, 2002–03, no. 28.
• London, Royal Academy of Arts, 2006, no. 34.
• Moscow, Pushkin State Museum of Fine Arts, 2007.
• Martigny, Fondation Pierre Gianadda, 2013, no. 19.
• London, Tate Modern, 2017–18.

Notes

D’Atri papers no. 59, as La petite Marie, fille du peuple, dated 1918, 61 × 50 cm; provenance Sabouraud. Also no. 328, as Marie, dated 1918, Cagnes, 55 × 46 cm; provenance Zborowski > Sabouraud 1929.

This investigation records holes at the corners of the canvas.

This investigation records a drawn ear painted over the colour.

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