Chronology of sculptures
The Modigliani's sculptor activity is one of the most intricated topic in the artist's historiography, since it turns out to be poorly documented. The greatest inaccuracies mainly concern the years in which the artist sculpted and consequently the dating of each works to which we have to added a further obstacle constituted by an imprecise cataloging of the preparatory drawings of the Alexandre collection, approximately classified among those "realized before April 1913" and after that date. If we add to this that Modigliani dated a very few drawings, it becomes clear that trying to re-establishing a correct chronology of the sculptures through these works it's only a waste of time.. Modigliani sculptures must be contextualised, paying attention to grasp the influences that intrigued the artist during some periods of his career, as well as the affinities - and differences - between these works: if this procedure will be developed correctly, the rightness of the established chronology will be corroborated by the progression of the artist's sculptural technique. Considering that the dating of the sculptures offered by Ceroni have not been reconsidered up to our days, if not sketchily, we can say with reasonable certainty that this work has not yet been done. We have the result under our eyes: in most catalogs (including museums that house Modigliani's works), sculptures produced without doubts at the end of the artist's career, turn out to have the same dating as other works realized in the full experimental phase. In this confusion, certainly unusual in Modigliani literature, we will try to shed light on the period of Modigliani's sculptural activity and to the sculptures chronology, first by examining incontrovertible details, then by developing the most convincing hypotheses.
Modigliani, it is well known, approaches to the sculpture in Pietrasanta in 1902 at Florence Academy time, but thinking of him as a sculptor already at that date would be a blunder (like imagining him already painter at the time of Micheli's school), despite the fact he had realized his first sculptural project, nonetheless capable of having excited him to such an extent for asking for photographic enlargements of this Head to his friend Gino Romiti. Besides this work, whose appearance is totally impossible to imagine, - until now those photos have never emerged -, we also have no evidences of other sculptures realized from 1902 until the arrival in Paris, although the "dream of becoming a sculptor" was living in the artist's mind even during the years of the Venice Academy (1903 - 1905).
In truth, Modigliani becomes sculptor in Paris under the technical and expressive influence of Brancusi, known through Paul Alexandre in early 1908, and his neighbor of atelier at the Cité Falguière from April 1909 until 1912, a place where Modigliani, in any case, may have sculpted with his Romanian friend even before settling there, an eventuality that no scholar will ever be able to challenge. The years of attendance with Brancusi and the period of the sculptor activity are related with those that had joined Modigliani and Paul Alexandre in a deep friendship, from 1906 to 1914. In the field we are entering, Paul Alexandre becomes, therefore, a key witness; in fact, he's the one to mark with certainty the date of the abandonment of his friend's sculpture pratice with the last trip in Italy, so at the end of June 1913. By accepting this testimony like trustable, we can mark the end of the artist's sculptural practice in Paris but not the beginning, regarding which the informations we have available appear to be quite disappointing. Among the unconfirmed testimonies, we must add that of the painter Henri Doucet who spoke of wooden sculptures realized in 1908 and which had the dimensions of the wooden sleepers used for the construction of the Barbès-Rochechouart metro, whose inauguration took place on 21 April 1908. If, on the one hand, it would be plausible to imagine a first approach to wooden sculpture before facing hard stone (leaving out the first approach with the hard marble in Pietrasanta in 1902), on the other, there are no guarantees about the presence of such sculptures (Doucet spoke of more sculptures) and the only known wooden head - assuming it is authentic - was published by Jeanne Modigliani in 1958 who, rightly, emphasised the fact that for its features appeared realised in later times (between 1911-12).
Let us now turn to the incontrovertible evidence. Among these, we must include the photos that allow us to give an exact chronology to the sculptures reproduced there, such as the photos of the 5 heads taken in 1911 inside the Amadeo de Souza Cardoso atelier in rue du Colonel Combes, where Modigliani, with Brancusi's help (who sent a letter of invitation to P. Alexandre), set up a small exhibition inaugurated on March 5. Thanks to these photos we can say with certainty that 3 heads out of 5 were made no later than 1911, therefore between 1910 and 1911. The other two heads, that appear in a single photo, were not yet finished: one of these - as we shall see - was exhibited [completed] at the Salon d'Automne of 1912 together with 6 other heads, the other work was bought by Chester Dale and is today conserved at the National Gallery of Art in Washington D.C.
Regarding one of the previously mentioned works, it is necessary to point out an episode of considerable importance. In Ambrogio Ceroni's publications there is a Head of which it is said that it was lost since 1925, but about 10 years after the last update of that catalog (printed in 1970), it re-appeared in an exhibition; first in 1981 at the Musée d'art moderne de la Ville de Paris, then in 1984 in Livorno at the exhibition "Modigliani gli anni della scultura" (Modigliani the years of sculpture) organized at the former Progressive Museum of Contemporary Art of Livorno (Villa Maria). It was on this last occasion that Carlo Pepi remarked both to the organizers, and to the art historian Maurizio Calvesi, that this Head wasn't the same than the one pictured in the photo taken in Cardoso atelier in 1911, as was assured both in the exhibition catalog and in Ceroni's catalog, and that therefore, the Head pictured in the photo taken in the atelier's interiors was the lost one, while the work in display was only a clumsy copy of that.
In the famous photo of the Salon d'Automne (Room XI) published in "L'Illustration", 4 of the 7 Heads which constituted an "ensemble décoratif" are unveiled: the Head sold by Sotheby's on November 4, 2014 (the first on the left); the Head of a woman already exhibited a year earlier in the Cardoso atelier; the Head in the Staatliche Kunsthalle Karlsruhe Museum; the Head in the Solomon R.Guggenheim Museum of New York, while the other three sculptures missing in this photo, should be (we trust in the bibliography provided by the museums which house two of these heads and an auction house from which the other was sold) those indicated in the box below right: the famous Head belonged by Andrée Lévy sold at Christie's on June 14, 2010 (first on the left); the Head in the Minneapolis Institute of Art, also exposed, though not yet completed, in Cardoso atelier in 1911; and the Head housed in the Tate Modern Museum of London. The inclusion of this last work in the list of sculptures exhibited at the Salon of 1912 is quite curious, we would have expected the Head in the National Gallery of Art of Washington D.C. in its place, but neither this museum, nor others (including private collectors), has ever claimed this prestigious exhibition so, not having proofs be able to show the opposite, we can only trust in the bibliography provided by the Tate Modern.
Another photo portrays a sculpture together a man commonly associated to Modigliani. This is the Head in the Kimbell Art Museum. The photo would seem to have been taken in the courtyard of the Cité Falguière, so, bearing in mind that the artist resided in this place until 1912 and that this work does not appear among those exhibited in Cardoso atelier, nor can it be considered of a lower quality than those, we can dated this sculpture between 1911 and 1912, a conclusion that is supported by a comparison with another head we will discuss later.
Most biographers agree the Kneeling Caryatid, for years abandoned in the courtyard of the Cité, may have been carved between 1913 and 1914. But here too, like for the Head in th Kimbell Art Museum, we have to consider that Modigliani left the Cité in 1912 to move to 216 Boulevard Raspail and that the two places are not exactly adjacent (about a 25-minute walk away). Imagining Modigliani that has gone to the courtyard of the Cité on several occasions to finish this work it's hard to believe. Except the distance which separates the two places, Modigliani used to start and finish a work and if he wasn't fully satisfied with the result achieved, the fate of this work was to be abandoned or destroyed in the place itself. Let's not forget the important testimony by Paul Alexandre who said to had "saved" the drawings in his collection from his friend's "mania" to destroying the works he considered unsatisfying. Another proof of this "inclination" of the livornese artist, is recently emerged from scientific investigations by high-tech x-rays on Modigliani's paintings which have revealed the presence of other subjects under the pictorial film. "Discovery" that has generated a fairly incomprehensible clamor: if Modigliani acted so, it only means that the work in question wasn't coming out the way he hoped. For heaven's sake, it is understandable the astonishment in seeing unpublished images emerge, but we emphasize the fact we are talking about works discarded by the artist.
Returning to the Kneeling Caryatid in the Museum of Modern Art (MoMA) in New York, from what it has been said and if the reasoning is correct, it is very probable that it was completed by the artist before moving to Boulevard Raspail and that, consequently, it took a long time before someone appreciated its beauty and decided to buy it.
In that courtyard Modigliani also carved the Standing Nude in the National Gallery of Australia in Canberra but, unlike the Kneeling Caryatid in the MoMA, shows no damage since it was sold previously. In a photo taken in the garden of the house of its second owner, the French entrepreneur Jacques Guérin, the biggest sculpture by Modigliani still shows itself without damage next to Pablo Picasso who appears honored to be immortalized at its side.
The MoMA museum in New York also houses another sculpture whose execution is assured in 1915, hypothesis also confirmed in the catalog of the Amedeo Modigliani retrospective at the Tate Modern in London (November 23, 2017 to April 2, 2018). This isn't a very documented sculpture so much so that the same museum is unable to estabilish whether it was purchased directly from the artist or from Léopold Zborowski, a theory that it leaves quite perplexed since the only Head included in Polish gallerist collection, errors excepted, is the one now in the Henry & Rose Pearlman Foundation collection on long-term loan to the Princeton University Art Museum. It would have made sense to dating this work 1915 if it was purchased by Paul Guillaume, since himself, immediately after the artist's death, remembered that Modigliani continued to sculpt until that date (a theory not supported by objective evidence but not impossible either). For these reasons and for the aspect of this Head with respect to the others already mentioned, we can hypothesize that it was carved around 1912.
Paul Guillaume, who met Modigliani in 1914, is portrayed in a photo with two heads placed over the fireplace in his Parisian home. The work on the left, of which only the base and a small section of the profile are visible, is the Head in the Barnes Foundation in Philadelphia and it is recognizable through the photo published by Ceroni. The other work would seem to be lost and, at least from what we can see from this photo, it seems hardly sketched on the left side (perhaps unfinished?). Who knows, maybe one day it could re-appear finished, in this case we would have to extend the sculptor activity of Modigliani a few years until the "Guillaume era" (thus confirming his thesis), even if it cannot be excluded that the artist from Livorno, although having abandoned the sculpture, may have taken back hammer and chisel in his in hands to finish one of his works. In the meantime, both due to the fact that this head appears together with the one purchased by the great American art collector, and because it shows analogies of style and concept to that of the Tate, it seems plausible to date it in the same period (between 1911 and 1912), same dating we can also assign to the Head of a woman sold by Paul Guillaume to Maurice J. Speiser, now located in the Philadelphia Museum of Art.
The Lille Métropole Musée d'art moderne, d'art contemporain et d'art brut (LaM) houses the only marble sculpture by Modigliani which was displayed in 1925 in the Galleries Bing, Paris. It seems with this Head of a woman, which offers new decorative details compared to the other heads (from the hair treatment to the different processing of the epidermis aimed to creating a sharp contrast with the other half of the face only smooth), Modigliani wanted to leave behind his previous production; from the primitive and brutal sources, to the more classical and elegant long necks and noses of the sculptures realized between 1911 and 1912, to aim at a new and equally original style we will find in posthumous canvases produced after the "sculpture period", let's say from the first portraits to Beatrice Hastings, onwards. All this leads us to suppose that the Head of a woman of LaM could be the last sculpture realised in Paris by the artist (between 1912-13) and the type of stone (according to the Museum catalog it should be Carrara marble) encourages this hypothesis. As it is known, Modigliani leaved in April 1913 for the last trip to Italy with the intention of "doing everything in marble", a desire expressed in the letter he wrote from Livorno to Paul Alexandre on April 23, 1913, taking the opportunity to ask him to "go to the Serbo-Croatian [Brancusi] to take the head and to bring it at his home in av. Malakoff". Whether it was this sculpture? Paul Alexandre didn't mention the head his friend was referring to, so, again, anything is possible, including a bold hypothesis. As already mentioned, Modigliani approaches with marble sculpture in Pietrasanta in 1902 and from that time on, we have no more news about his activity as a sculptor until Paris and his works, except for the head we are talking about, they were carved on sandstone and limestone, two types of stones whose dust remains much less in suspension than marble. Obviously the allusion is to Modigliani's pulmonary disease and this theory, which like others can never be confirmed, would give us a valid reason why we have no more news of the artist's interest for sculpture from 1902 to 1908-09, but also why in 1913, after having realised the beautiful Head of a woman on display at LaM, he tried, this time as an expert sculptor, to attack the same block of marble that caused him - this is what we try to suppose - serious respiratory problems so as to inducing him to give up hope of continuing his career as a sculptor until the meeting with Brancusi.
Among these sculptures we have talked and the first ones we will discuss later, we can place 3 Heads of a woman sculpted between 1911 and 1912. What links these three works and therefore suggests to presenting them together is the recall to archaic and oriental art, especially for the lips curvature that the Head of a woman in the Harvard Art Museums / Fogg Museum, the Head of a woman (with chignon) in the Merzbacher Kunststiftung collection and the Head of a woman housed in the MNAM (Musée National d ' Art Moderne - Center Georges Pompidou), have in common and which recall, precisely, those hieratic, archaic smiles of Greek statues.
This corpus of three works is certainly preceded by the small Head from the Paul Guillaume collection that, after various changes of ownership, was purchased in the 1960s by Herbert Singer and then ended up at Sotheby's auction on February 5, 2007 where was bought, with a unfulfilling result for a Modigliani work, from the Colección Abelló in Madrid. As already said, the dating of this small sculpture that recalls the Danaide of Brancusi carved in 1908, can only be preceding to the corpus of the three female heads previously mentioned, it is therefore assumed it was realized around 1910.
We have therefore come to talk to the earliest heads by Modigliani and we will do it, as always, taking into account the unavoidable factor of the aesthetic quality of these works and the period in which we can place themself. So let's recap, we have still 9 heads, 3 of which forming part of the same context and carried out for sure during the summer 1909 in Livorno. From this list we begin meanwhile to remove the sculptures that show a step forward than the others, such as the Head in private collection (previously owned by Perls Galleries, New York) and the Head sold by Christie's on May 13, 2019. The first head shows strong analogies with the head in the Kimbell Art Museum so much to seem a refined reinterpretation of it. It goes without saying the head in question can only have been carved also before the Heads pictured in the photo taken inside Cardoso's studio. The head sold by Christie's, instead, presents some striking similarities with the lost head that appears in the photo taken in the Portuguese painter's atelier, such as the hair treatment, the common cut in the lower part of the eyes and the same conformation of the nose and mouth. This leads to the supposition that this work may have been realized between 1910 and 1911.
The remaining sculptures shows primitive features which recalling Brancusi's activity in the years between 1907 and the first months of 1909, but also some imperfections that are not evident in the other works we have discussed until now. In the Head of a woman in the Musée national d'Art moderne (MNAM), Center Georges Pompidou (Paris) the primitivist style and influence appears less evident than the other works we will talk, even if we are clearly still in a experimental phase (as confirmed by the presence of a sketch, on the back of this sculpture, whose somatic features recall those of The Wisdom of the Earth by Brancusi elaborated in 1908). It is difficult to date this sculpture, but with all possible imagination, we cannot advance the idea that it may have been carved after 1910.
Now we can talk about that group of sculptures in which primitive suggestions, from art nègre to oriental art, especially Khmer from ancient Cambodia, are explicitly revealed. The Head today at Princeton University Art Museum, owned by Henry & Rose Pearlman Foundation, shows, for example, brutal blows inflicted by violent and rapid chisel strokes only just to outline the somatic features. Not having available ancient photos of this sculpture, we cannot accept the hypothesis that it has been battered or damaged by time, a possibility quite hard to accept also considering the same approximate and hasty working of both sides. Everything leads us to think of a work realized around 1910, that is in the period in which the artist, in sculpture as in painting, was addressing his studies towards the research of essentiality and simplification of forms.
The Head in the Hirshhorn Museum and Sculpture Garden, Washington, D.C., shows a further step backward from the Head in the Pinceston Museum, even if we always remain in an experimentation and incompleteness phase. The figure is sculpted, or rather rough-hewn, on a flat surface (like the sculptural technique of bas-relief); the facial features are slightly sketched and the oval of the face, as well as the neck and hair area, has been carved with a claw-chisel. The execution of this sculpture is visibly sketchy, clumsy, without volume, so it appears lacking of that distinctive peculiarity of all Modigliani's works. It is not by chance that, due to the ease of execution it arouses, it was taken as a model by the students of Livorno to realize their "Modì 1" with the will, well succeeded, to make a funny joke that went down in history as "the 1984 hoax". And yet, this Head, first published in a catalog in the 1950s, is incredibly dated between 1911 and 1912, that is as the masterpiece of the Tate Modern: that's absurd!
The only sculptures having a right dating, are also the only ones located in Italy. They are three heads carved in 1909 (two works bears an incised dating) that were part of a corpus of 5 works, 2 of which tragically disappeared during the bombings of World War II. The history of these heads is summed on this page; it can be reconstructed thanks to the newspaper articles linked here and, in more detail, is published in "Amedeo Modigliani 'the stumbling blocks' - The story of the real heads of Modigliani" by Sillabe, 2016. The three sculptures were authenticated by Carlo Pepi in 1991, in 1993 by James Beck, by Wayne Vesti Andersen and also the art historian Enzo Carli, through a letter addressed to Carlo Pepi on October 24, 1993, declared to consider more than reliable the fatherhood to Modigliani of the sculptures in question.
On the opening day of the exhibition "The Unknown Modigliani. Drawings from the collection of Paul Alexandre" at Palazzo Grassi (Venice, 1993), Carlo Pepi identified some drawings that fit perfectly with these sculptures and that showed new features also, such as the shape of the half-hexagonal nose designed for the first time by Modigliani; in particular Pepi pointed out that in the Head ß it is possible to observe even the identical perspective curvatures, the same profile, the same perspective asymmetry, the same eyes, the same engravings on the forehead, the same proportion in the asymmetries both eyes and face, the same displacement with respect to the horizontal plane of the two different lines passing through the eyes, the same rhythms and so on. In 2015 they were examined by Prof. Corrado Gratziu and Alessandra Moscato [Gra-Al-Lab], a work which involved the collaboration of the National Institute of Geophysics and Volcanology of Pisa. The expertise on the three heads and the graphological expertise carried out by Valeria Zacconi in 1991 on the glosses on margins of an eighteenth-century book saved together with these works are published in the documentary material in the book by Sillabe.
Among many articles concerning these sculptures, the one published by the art historian and writer Gloria Fossi for Arte e Dossier (February 2018) is, in the writer's opinion, one of the most important. The Florentine art historian went to London to see and review the Modigliani exhibition at the Tate Modern where she was able to appreciate, among over one hundred works on display, 'The Beggar of Leghorn', 1909 - a key work regarding the story of the three heads - and nine sculptures joined for the great London event. Just arrived in Italy, the desire to see the three sculptures and the other objects saved with them arose in her and, at the same time, to re-examine what had been written about Modigliani's sculptural activity. In summary it is a remarkable work, well-documented - despite the limits of space - and absolutely original, given that the matter was approached by the author in a completely autonomous way with respect to the 'specialists' who preceded her. Link article from Arte e Dossier February 2018
An important detail regarding the morphological characteristics of the three stones emerges from the petrographic testing. In a nutshell, these are three lithotypes (sandstone) coming from the same metamorphic facies in which it is recognizable the same matter source, this means that the three stones arrived in Livorno at the same time.
The darker sculpture, more sketched, without base, damaged on the right occipital part and partially on the nose in the left extremity, is carved in a stone originated in an asphyxial environment: to this is due both its color more dark, and the greater hardness compared to the other two stones. Probably for the stone's morphological characteristic, not easy to work for the high risk of breaking, it has been carved with a point chisel (tool usually used to rough-out the stone block), while, around the nose, we can see the same type of working of the Head in the Latner Art Collection in Toronto (the last sculpture we will talk about), through the use of a claw-chisel. The influence of African masks and the "brutalism" of Brancusi's works such as The Kiss and The Wisdom of the Earth is evident in this head. It is visible a step backwards compared to the other two works from Livorno, this leads us to deduce that it was the first to be sculpted, hence the name Testa α.
The Head ß (because most likely done second), is realized on a very soft sandstone and shows a more advanced level of working than the first one as well as a more convincing result. It too without neck although having a basement, it shows some "primitive" characteristics of the African model, but unlike the Head α, there is a more refined definition of the surface of the epidermis which appears, for the first time in Modigliani's sculptural works, accurately smoothed. For the first time we also see that ornamental decorations under the forehead that we find in many preparatory studies of the Alexandre collection drawings and that in posthumous sculptures will take the form of the classic bangs. The remarkable ductility of the stone has certainly favored the opportunity for new solutions, from the resolution of the volumes, to the decorative aspects that begin to carve out an important role in the construction of the work.
Even the third head presents itself without basement since its origins given that no signs of damage can be seen. Made on a beautiful light pink sandstone, it can only have been sculpted for last, hence the name Head γ. The further step forward compared to the other two works is irrefutable; a stylistic progression in the direction of those expressive choices that will be elaborated in the sculptures carved between 1911 and 1912: the size of the nose are lengthened, the decorative aspects are accentuated, while the eyes, for the first time, are slightly asymmetrical, so giving to this work that mysterious and enigmatic look we find in some sculptures produced in the following years. Let it be said: any type of comparison with posthumous sculptures is still daring, after all, the overcoming primitivism it still remains an upcoming project. Here too, like for the Head β, the [medium] hardness of the stone has contributed significantly for the finalisation of this work: it can be seen a greater skill with the "tools of the trade" through a combination of the tools used for the realization of the two previous heads, additionally, the processing of the features of the face and of the eyebrow arch with the same technique used in the other two Livorno works also appears accentuated. Both in this sculpture and in the Head β, we can see some Cabalistic - Alchemical symbols of difficult interpretation that we find in several works by Modigliani.
It remains to talk to the last sculpture, the one in the Toronto's Latner Art Collection which should be the first sculpted by Modigliani in Paris. This hypothesis is explained by the use of the chisel handled in a vertical position with the intention of obtaining a shape by "digging" and not by shaping the stone (same technique we find for the realization of the Head in the Hirshhorn Museum and Sculpture Garden Collection in Washington DC). This detail suggests a neophyte sculptor without a clear idea of what he intends to achieve: the strokes inflicted on the right side of this work seem to indicate, in fact, a sculptor who is trying to become familiar with the chisel and with the right power to be impressed on it. This Head is usually dated between 1911 and 1912, that is in the years in which Modigliani completed his most famous masterpieces, another clear proof that, with regard to sculpture, the aesthetic, contextual, but also documentary factor, are elements inadequately taken into account by Art criticism even if, together with the continuous movements between Montmartre and Montparnasse (as Jeanne Modigliani wrote) and to the discontinuity of sculptural practice, are the foundation of the major misunderstandings about the "sculpture period" and the chronology of the individual works.
See in detail the sculptures by Modigliani according to a chronological order deriving from the considerations developed in this page. This study doesn't aim to reach conclusions that are different to, or more plausible than, those expressed by other scholars. On the contrary, the primary aim of this site is to offer scholars and art lovers new food for thought, new insights, and new ideas.
size: 34.7×19.5 cm
weight: 20 kg
1909 - 1910
size: 49.5×18.4×22.8 cm
Hirshhorn Museum and Sculpture Garden Collection, Smithsonian Institution, Washington D.C.
Provenance: G. Hyordey, Paris, by 1951 (as documented in Descargues) Curt Valentin Gallery, New York, to 1955 Joseph H. Hirshhorn, New York, 1955-17 May 1966 Gift of Joseph H. Hirshhorn, 1966
size: 41.8×12.5×17.0 cm
The Henry & Rose Pearlman Foundation
Provenance: [Leopold Zborowski (1889–1932), Paris]. Private Collection, London. Mrs. Cornelius J. [Mary Quinn] Sullivan (1877–1939), by Dec. 1937, sold at auction, Paintings, Drawings, Sculptures, Prints by Modern Artists…The Entire Collection of Mrs. Cornelius J. Sullivan, Parke-Bernet, New York, 6–7 Dec. 1939, lot 66 [Fine Arts Associates (Otto Gerson), New York, by 1950]; sold to Henry Pearlman, by Oct. 1954; Henry and Rose Pearlman Foundation, by 1959.
Head of a woman
size: 47×25×30 cm
Musée national d'Art moderne (MNAM), Centre Georges Pompidou (Paris)
1910 - 1911
Colección Abelló, Madrid
Provenance: Paul Guillaume, Paris Corbelline Collection, Paris A. Kleinmann, Paris Ernest de Frenne, Paris Paul Martin, Paris (President of the Comité Professionnel des Galeries d'Art; acquired from the above in July 1941; until at least 1948) Otto Gerson Gallery, Inc., New York Herbert Singer, New York (acquired from the above on 29th March 1961) Thence by descent
1910 - 1911
height: 51 cm
Provenance : Private collection, Paris. Anon. sale, Maître E. Ader, Palais Galliera, Paris, 12 December 1962, lot 18. Private collection, France. Galerie Beyeler, Basel (acquired from the above, 1964). Sir Edward and Lady Hulton, London (acquired from the above, 20 October 1964). Marlborough Gallery, London (acquired from the above, 1981). Private collection, Switzerland (acquired from the above, 1981 and until 2010). Thomas Gibson Fine Art, Ltd., London. Acquired from the above by the present owner, 2010.
woman's head (with chignon)
size: 57.2×21.9×23.5 cm
Merzbacher Kunststiftung Collection
size: 39.4×31.1×18.7 cm
Harvard Art Museums/Fogg Museum, Gift of Lois Orswell
1911 - 1912
Limestone (Euville stone)
size: 58×12×16 cm
MNAM (Musée National d'Art Moderne – Centre Georges Pompidou) - Paris
1911 - 1912
size: 64.8×19.1×22.9 cm
The Barnes Foundation, Merino Station, Philadelphia
1911 - 1912
size: 65.4×17.1×21.3 cm
Minneapolis Institute of Art (gift of Mr. and Mrs. John Cowles)
1911 - 1912
size: 65.2×19×24.8 cm
National Gallery of Art, Washington, D.C. ( Chester Dale Collection)
Provenance: Possibly (sale, Hôtel Drouot, Paris, 15 June 1927). (Paul Guillaume); sold April 1928 to Chester Dale [1883-1962], New York; bequest 1963 to NGA.  The Chester Dale papers say this sculpture was in the Hotel Drouot Sale of 15 June 1927. However, according to an undated memo by David Rust in the curatorial file, the reproduction of the sculpture that appears in the 1927 sale catalogue is not this work.
1911 - 1912
size: 52.4×24.8×37.5 cm
weight: 51 kg
Kimbell Art Museum
Provenance: Presumably Lucien Lefebvre-Foinet, Paris; Maurice Lefebvre-Foinet, Paris [1902-1984] (Curt Valentin Gallery, New York), 1951; purchased by Mr. Morton D. May [1914-1983], St. Louis, 1953; purchased by (M. Knoedler & Co., New York), 1962; purchased by Ted and Lucile Weiner, Fort Worth and Palm Springs, 1963; their daughter Gwendolyn Weiner; acquired by the Kimbell Art Foundation, Fort Worth, 2017, gift in honor of Ted and Lucile Weiner by their daughter Gwendolyn
1911 - 1912
size: 70.5×23.5×16.5 cm
Philadelphia Museum of Art (Gift of Mrs. Maurice J. Speiser in memory of her husband, 1950)
Provenance: With Paul Guillaume, Paris; sold to Maurice J. Speiser (1880-1948), Philadelphia and New York, 1925, until 1944 ; Speiser sale, Parke-Bernet, New York, January 26-27, 1944, lot no. 85 (illus.); sold to Philip C. Boyer (dealer), New York . Martha Glazer Speiser (Mrs. Maurice J. Speiser) (d. 1968), Philadelphia, after 1944 to 1950 ; gift to PMA, 1950. 1. According to a note on the registrar file card, the sculpture was purchased from Paul Guillaume in 1925. Speiser is listed as the owner in Maud Dale, Modigliani, New York, 1929. On Speiser and his wife Martha see R. Sturgis Ingersoll, Henry McCarter, Cambridge, MA, 1944, p. 73. 2. Art Digest, February 15, 1944, p. 22, lists the sculpture as having been bought by dealer Philip C. Boyer, owner of a New York gallery. 3. Mrs. Speiser had apparently reacquired the work or merely had it on consignment to Boyer, as she donated it to the PMA in 1950.
1911 - 1912
height: 73 cm
Provenance: Augustus John, Hampshire & London (acquired from the artist in 1912) Arthur Tooth & Sons, London (acquired from the above in 1955) Hanover Gallery, London (acquired from the above in 1956) Private Collection, Europe (acquired from the above in 1956) Acquired from the above
1911 - 1912
height: 64 cm
Provenance. Atelier de l'artiste, Paris. Probablement Galerie Paul Guillaume, Paris. Raymond Mayer, Paris; vente, Me Bellier, Paris, 15 juin 1927, lot 67. Gaston Lévy, Paris (acquis au cours de cette vente). Andrée Lévy, Paris (par descendance). Puis par descendance au propriétaire actuel.
1911 - 1912
size: 56.5×12.7×37.4 cm
Museum of Modern Art, New York (MoMa) - Gift of Abby Aldrich Rockefeller in memory of Mrs. Cornelius J. Sullivan
size: 162.8×33.2×29.6 cm
National Gallery of Australia, Canberra
Provenance: with François Reichenbach, Paris; Jacques Guérin, Paris; Jacques Lindon, New York; Gustav Schindler, New York, in 1951, through Curt Valentin Gallery, New York; with Gaston T. de Havenon, New York; from whom bought by the Australian National Gallery, February 1976
1912 - 1913
head of a woman
size: 50.8×15.5×23.51 cm
LaM - Lille Métropole Musée d'art moderne, d'art contemporain et d'art brut.
Provenance: Paul Guillaume, Parigi (Francia) - 1979: MASUREL Jean, Parigi (Francia)
WORK IN PROGRESS