Identification

Published titles

English: The Student (Guggenheim); The Student; Red-Haired Young Man; Young Man Bust; Boy with Red Hair.

Date

Pfannstiel dates the work 1917. Lanthemann, Patani and MR date it 1919. Klein gives 1918–19. The museum inventory number is 94.4482 (previous 45.997).

Medium

Oil on canvas.

Dimensions

Museum: 61.3 × 46.4 cm. Often rounded to 60.9 × 46 cm. The museum measurement is kept in the heading.

Signature

Signed modigliani at top right.

Present location

Solomon R. Guggenheim Museum, New York, inv. 94.4482.

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. Not documented before Dr Raymond-Jacques Sabouraud, Paris (by 1933).
2. Possibly Dubourg Collection, Paris (by 1942).
3. Harry Stevens Collection, Ottawa.
4. Dominion Gallery / Art Associates of Montreal (by 1943–44).
5. Fine Arts Associates, New York (by 1945).
6. Hilla Rebay Collection, Connecticut (acquired 1945).
7. Solomon R. Guggenheim Collection (acquired from Rebay, 1945).
8. Solomon R. Guggenheim Museum, New York.

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.

• Pierre Descargues, Amedeo Modigliani, Paris, Braun, 1954, pl. 46.¹
• Arthur Pfannstiel, 1956, no. 158, as The Student, dated 1917, with no mention of related canvases.
• Guggenheim Museum, Acquisitions of the 1930’s and 1940’s, 1968, p. 89.
• Joseph Lanthemann, 1970, no. 405, dated 1919.
• Osvaldo Patani, 1991–94, no. 314, dated 1919.
• MR, Luxembourg 2002, no. 87, pp. 352–353, dated 1919.²
• Mason Klein, Modigliani: Beyond the Myth, 2004, p. 146, pl. 62, dated 1918–19.

Exhibitions

• Brussels, Palais des Beaux-Arts, 1933, no. 39.
• Basel, Kunsthalle, 1934, no. 46.
• Ottawa, National Gallery of Canada, Southam collection, 1944, no. 22.
• Montreal, Art Associates, 1944, no. 22.
• New York, Guggenheim, A Selection II, 1953.
• Toronto, Vancouver and Montreal, Guggenheim loan exhibitions, 1954.
• London, Tate Gallery; The Hague; Helsinki, 1957, no. 53.
• Rome, Galleria Nazionale d’Arte Moderna, 1958, no. 32.
• Cologne, Wallraf-Richartz-Museum, 1958, no. 55.
• Paris, Musée des Arts Décoratifs, 1958, no. 37.
• Tokyo and Nagoya, 1985, no. 107.
• Paris, Musée du Luxembourg, 2002, no. 87.
• Toronto, Art Gallery of Ontario, 2004–2005, and Washington, The Phillips Collection, 2005.

Notes

D’Atri papers no. 39, as The Student, dated 1917, with a note “1916?”, provenance Sabouraud, Paris.

This investigation compares infrared photographs of this bust with the larger seated composition (1919-w-51), noting related underdrawing in the mouth, moustache and jacket.

MR has suggested a son of Dr Sabouraud (Émile) or a son of Georges Menier (Antoine). These remain hypotheses.

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