secretmodigliani.com
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| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| Nº 102 | Nº 77 | Nº 58 | YES | ? | Nº 63 | YES | ? |
- -?-
Guillaume Collection, Paris
Georges Cheron, Paris?
Netter Collection, Paris ( by 1956?)
Perls Galleries, New York
Private Collection (by 1972)
Sold in Auction: Christie's Impressionist and Modern paintings and sculpture, Part I - New York | 7 November 1995 - Sale 8306 /Lot 33
Estimate: 900.000 - 1.200.000 USD
- Sold: 1.487.500 USD
Helly Nahmad Collection? Private Collection?
?
VAC Foundation, Moscow
in process
Pfannstiel, "catalogue presume" Modigliani. L'Art et la Vie. Preface de Louis Latourrettes, Seheur, Paris, 1929, p. 16
Pfannstiel, Modigliani et son oeuvre, etude critique et catalogue raisonne, bibliotheque des arts, Paris, 1956 - nº 102
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970 - nº 77
Ceroni & Piccioni, Il dipinti di Modigliani, Rizzoli, Milano, 1970 - nº 58
O. Patani, Amedeo Modigliani, catalogo generale: Dipinti, Milan, 1991 - nº 63
Monti a cura de R. Chiappini, Catalogue Amedeo Modigliani, Lugano, Skira, 1999
Klein, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005, p. 84 plate 8 (courtesy of Helly Nahmad )
Soto Caba, Modigliani, The timeless face, Libsa, Madrid, 2007
in process
New York, Amedeo Modigliani, Acquavella Galleries, Inc., 1971, nº 11
Lugano, Amedeo Modigliani, Museo d'Arte Moderna, 1999, nº 20
New York, Modigliani: Beyond the Myth, The Jewish Museum, 2004-2005 - nº 8
Toronto, Modigliani: Beyond the Myth, The Art Gallery of Ontario, 2004 - 2005 - nº 8
Washington D.C., Modigliani: Beyond the Myth, The Phillips Collection, 2005 - nº 8
London, Modigliani and his models, Royal Academy of Arts, 2006, nº 8 (P.C. courtesy of Helly Nahmad)
Moscow, General Rehersal, Museum of Modern Art Moscow, VAC Collection, 2018
in process
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I have not been able to obtain a better image of the signature, the VAC museum did not even answered my petitions.
The signature of the painting is absolutely anomalous, it is made in black oil and the "M" is in capital letters not joint to the "o", the "o" is closed, the "d" is almost closed, the "g" has no
body balance and the lower body is not finished, the dots are big, The linearity of the signature is complete in design, but of course this does not means nothing, only old fashion art
historians/connosieurs would dare to say it's fake based on this stupid and pointless dissertation, a total nonsense.
Signatures in Modigliani have no rules and to say that there are is like saying he signed with a stamp...
Detail of signature in visible normal light:
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Detail of the ears made full of details and color, drawing with colors and black detail is visible and is painted over the color (on top of the color)
Curiosity:
Marc Restellini extract from a report by him will give a deeper comprehension of the private expert way of working:
Translation:
The ears: When they are left exposed in female portraits (rare), they are not detailed. Even in the portraits of men, they are not the object of so much detail.
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Exactly the opposite to this case, the ears are full in details, painted with color gradation as detailed as the eyes or the hair or clothes.
The ears in this painting are a total point of light, with no ears the painting loses a lot of the character, the point of light given by the ears and the
charactere it prints is of vital importance to the composition.
Example with no ears:
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The painting framed while at Moscow, General rehersal, Museum of Modern Art Moscow, VAC Collection, 2018:
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For the Tate Gallery exhibition studies were made on their painting " Victoria"and the X ray showed another Modigliani painting under almost identical to the Hastings
portrait :
The portrait under Victoria is another version of Beatrice Hastings in front of the fireplace (dated in 1915), the position, size and perspective fits perfect:
So we have a 1915 Modigliani under a 1916 or 1917 modigliani, a very common re use of a canvas, but having in mind that some experts say that Modigliani
from 1916 is supported by the merchants like Paul Guillaume and Leopold Zborowski and supplied in canvases by these merchants and therefore no longer
needs to use poor media such as cardboard or reuse canvases, then we have to rethink all over many commonly accepted opinions.