secretmodigliani.com
| Pfannstiel | Lanthemann | Ceroni | J. Modigliani | Parisot | Patani | Restellini | Wayne |
| NO | Nº126 | NO / WIDOW YES | YES | V -1/1916 | ? | ? | ? |
Leopold Zborowski, Paris
( Netter collection based on the d'Atri provenance files???)
Alberto d'Atri Gallery, Paris ( Nº 248 in his files)
Joseph Lanthemann (acquired in 1956 from the above)
Private Collection, Switzerland (bought directly from J. Lanthemann in 1979)
In process
Lanthemann, Modigliani, catalogue raisonné: sa vie, son oeuvre, son art, G. Condal, Barcelona, 1970, nº 126
Parisot Témoignages, 1996, pp. 40-41
Parisot, Modigliani - ACR Editions, Paris, p. 96
Parisot, Modigliani Catalogue Raisonné Vol. V, Rome, 2012 - nº . 1/1916
In process
In process
Angela Ceroni, March 25, 1997 and July 16, 2004 (Authentic part of Ceroni Archiv)
J. Lanthemann, November 21, 1994
Jeanne Modigliani, February 3, 1984
Christian Parisot, March 7, 1995
Christian Parisot, 2012
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From Angela Ceroni:
- Angela Ceroni (Milano), Heiress of Ceroni archives, dated 25.3.1997:
in this certificate Mme. Ceroni say: the painting is registered in my archive, without an archive number since tha painting has not been shown in any Ceroni publication.
( so this is not a certificate, just that it is recorded in the files, not saying wich category)
But in a declaration made in Geneva the 25th of March 1997, Angela Ceroni say:
A mon avis, c'est une oeuvre authentique du peintre Amadeo Modigliani
To my Knowledge this is an authetique work by painter Amadeo Modigliani.
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Scientific expertise done by L. Sheldon in December 1998
UCL painting analysis LTD
43 Gordon square, London
Report C1323
- Painting made in an unlined canvas primed probably by the author.
- Preparation of the canvas made with Titanium white ( the report mentions that the first time Titanium white was available commercially is in 1918)
- Probably presence of egg emulsion.
- Pigments found in the work were those available between 1918 and the present day.
- The signature is made at the time of the underlying paint.
- The X ray showed some alterations (pentiments)
- Compared to the Nude on Courtlaud some differences sould be seen, but the overall style of the brushwork was not dissimilar. The underlying brushwork was similar to that of the surface brushwork as in the Courtlaud painting.
(this exact line means that the x-ray is different in both works, the visible layer is similar in brushwork, not the inside just the visible)
Conclussions:
No materials or techniques employed in this painting could be dated firmly. However, the Titanium white in the ground means that it had to be executed after 1918. Since Modigliani died in 1920, the painting could have been done in these last two years.
There is no published analysis of paintings by Modigliani for comparison.
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At that time there were just a few analysis but the 1981 publication by the Reunion des musees would solve any issue,
Actually there is new and trustable publications to compare.
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The same model as in Nº 129 - 128:
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The painting framed:
Signature Close up:
There is nothing relevant in tha back of the canvas, probably relined:
